"* 


SBoljgang  ©oetlje. 


1beatb'0  flDofcern  Slanguage  Series 


<ente  auf   Cauris 

<£in  Scfyaufpiel 


EDITED   BY 


LEWIS   A.    RHOADES,    PH.D. 


PROFESSOR  OF  GERMANIC  LANGUAGES  AND  LITERATURES 
OHIO  STATE  UNIVERSITY 


THE  Ln 

UNIVERSITY  OF  CALIFORNIA 
LOS  ANGELES 


BOSTON,  U.S.A. 

D.  C.  HEATH  &  CO.,  PUBLISHERS 
1905 


COPYRIGHT,  1896, 
BY  LEWIS  A.  RHOADES. 


PREFACE. 


THIS  edition  of  ^pfyigenie  cwf  £auri§  was  undertaken  in 
view  of  the  fact  that  no  edition  of  the  drama,  with  English 
introduction  and  notes,  adequately  represented  the  present 
condition  and  standards  of  Goethe's  study. 

My  text  aims  to  be  an  exact  reprint  of  the  Weimar  edition, 
in  which  both  spelling  and  punctuation  are  based  upon  those 
sound  principles  that  should  determine  the  reading  in  any 
classical  author.  Official  orthography  and  punctuation  are 
quite  a  different  matter. 

The  introduction  discusses  in  some  detail  the  composition  and 
sources  of  the  drama,  but  in  the  critical  study  of  the  work  aims 
only  at  pointing  out  the  unity  of  thought  that  pervades  it,  and 
at  showing  its  relation  to  Goethe's  own  life  and  to  the  world. 
Except  by  incidental  suggestion,  no  analysis  of  the  characters 
has  been  undertaken.  Such  work,  according  to  my  ex- 
perience, can  be  expected  of  a  student,  and  with  the  teacher's 
guidance  serves  to  stimulate  his  interest ;  nor  does  the  drama 
afford  such  a  field  for  character  analysis  as  is  the  case  in 
Schiller  or  Shakespeare. 

The  notes,  though  aiming  to  give  aid  in  translation  wherever 
it  might  seem  necessary,  are  intended  rather  to  contribute 
toward  the  student's  literary  and  poetic  appreciation  of  the 
text.  Attention  has  frequently  been  called  to  the  influence  of 


2054480 


Greek  usage,  and  classical  allusions  and  customs,  so  far  as  they 
are  involved,  are  explained.  My  purpose  has  been  to  elucidate 
that  which  was  conscious  and  intentional  with  the  poet,  not  in 
any  case  to  do  the  work  of  the  etymological  dictionary  or  of  an 
historical  grammar. 

The  citations  from  the  Greek  tragedians  are  given  according 
to  the  editions  of  Dindorf.  For  the  metrical  versions  of  pas- 
sages cited  from  Euripides  I  am  indebted  to  Professor  Louis 
Dyer  of  Oxford,  during  the  past  year  Acting  Professor  of 
Greek  at  Cornell  University.  In  other  instances  the  transla- 
tions by  Plumptre  have  been  quoted.  In  all  such  instances  the 
aim  has  been  to  refer  the  classical  student  to  the  originals, 
giving  at  the  same  time  those  whom  lack  of  time  or  training 
prevent  from  consulting  them,  the  best  available  aid  in  com- 
prehending the  German  passage  in  its  relation  to  the  Greek. 

My  cordial  acknowledgments  are  also  due  to  Dr.  H.  P. 
Jones  of  Cornell  University,  who  has  kindly  read  in  manu- 
script and  in  proof  my  whole  work,  and  has  offered  many 
valuable  suggestions.  To  Professor  H.  S.  White  and  to  Professor 
W.  T.  Hewett  I  am  also  indebted,  and,  indeed,  I  may  say  to 
all  those  members  of  the  Cornell  Faculty  with  whom  I  was 
intimately  associated  for  three  years. 

L.  A.  R. 

CHAMPAIGN,  ILL.,  Sept.,  1896. 


INTRODUCTION. 


COMPOSITION    OF   THE    DRAMA. 

JUST  when  the  thought  of  writing  Spljigenie  auf  £aurt§  took 
form  in  Goethe's  mind  cannot  be  positively  determined.  Shortly 
before  his  death  he  dictated1  to  Riemer,  "  Schwalbenstein,  near 
Ilmenau,  I  wrote  after  three  years'  deliberation  the  fourth  act  of 
my  3fpf)igenie  in  a  single  day."  This  is  confirmed  by  an  entry  in 
his  journal  on  March  19,  1779,  and  seems,  therefore,  to  refer  the 
first  thought  of  the  drama  in  a  general  way  to  the  year  1776. 

Hermann  Grimm  has  attempted  to  connect  the  work  with  a  par- 
ticular event  of  that  year,  namely,  with  Gluck's  request  for  the 
text  of  a  cantata  that  he  wished  to  compose  in  memory  of  his  niece. 
His  opera,  Iphigenie  en  Aulide,  Grimm  argued,2  turned  Goethe's 
attention  to  the  sequel  of  the  story  as  a  suitable  theme  for  such  a 
poem .  But  Erich  Schmidt  has  shown  3  that  ^roferpine  was  prob- 
ably the  poem  thus  suggested,  and  it  is  said  that  Grimm  himself 
no  longer  insists  upon  his  theory. 

Dlintzer,  on  the  other  hand,  refers  the  drama  to  the  year  1779 
and  rejects  Riemer's  statement,  assuming  that  he  either  wrote 
three  years  when  he  intended  to  write  three  days,  or  that  Goethe 
misspoke  himself.  He  further  asserts  that 4  since  only  the  fourth 
act  and  the  place  of  its  composition  are  mentioned,  nothing  is  to 
be  inferred  concerning  the  time  when  the  plan  of  the  whole  drama 
was  formed.  But  this  does  not  follow,  for,  as  Schrb'er  remarks,6 

1  SWittEieilungen  iiber  ©oetfje,  2:  83.  >  (Soetfje^SBorlefungen,  2.  Tlufl.  269. 

1  SSierteljaljrfdjnft  fur  8iterati«rgef$i$te,  i :  32.          «  CrlSuterungen,  15. 
«  £eutf<$e  9lat.  Sit.  90,  xvii. 


vi  INTRODUCTION. 

the  struggle  in  Iphigenia's  soul  that  the  fourth  act  depicts  is  essen- 
tial to  the  conception  of  her  character  ;  and  no  hint  of  this  struggle 
being  found  in  Euripides,  it  must  have  belonged  to  Goethe's 
original  plan.  Duntzer  has,  furthermore,  only  subjective  grounds 
for  rejecting  Riemer's  statement^-and  in  this  case  the  conclusion 
does  not  seem  warranted.  It  was  by  no  means  unusual  for  Goethe 
to  keep  the  plan  of  a  work  in  mind  for  a  long  time  before  he 
actually  began  its  composition,  and  that  such  was  the  case  with 
3pf)igenie,  the  poet's  first  mention  of  it  seems  to  indicate.  On 
Feb.  14,  1779,  he  entered  in  his  journal,1  "  Began  early  to  dictate 
3})f)tgenie,"  and  the  same  evening  he  wrote2  to  Frau  von  Stein, 
"My  mind  has  dwelt  all  day  on  ^ptjtgente,  so  that  my  head  is 
quite  confused,  although  in  preparation  I  slept  ten  hours  last 
night.  So  entirely  without  repose  and  with  only  one  foot  in  the 
stirrups  of  Pegasus,  it  will  be  very  hard  to  produce  anything  that 
is  not  entirely  patch-work.11  As  Grimm  says,3  this  does  not 
point  to  the  first  conception  of  the  drama  upon  that  day,  but  rather 
to  the  work  of  editing  and  harmonizing  the  various  versions,  as 
they  already  existed  in  his  own  mind.  Furthermore,  as  Schroer 
and  Erich  Schmidt  remark,  internal  evidence,  the  Orestes  situa- 
tion, in  which,  as  subsequently  shown,  Goethe  felt  himself  involved 
in  his  early  Weimar  years,  conclusively  marks  the  inception  of  the 
drama  as  belonging  to  that  period. 

In  following  the  actual  composition  of  the  drama,  Goethe's 
letters  and  journals  afford  sufficient  data.  His  official  duties, 
especially  as  President  of  the  Military  and  Causeway  Commissions, 
hindered  him  greatly.  A  week  after  the  beginning,  above  de- 
scribed, he  wrote  to  Frau  von  Stein  that  the  soothing  influence 
of  music  in  an  adjoining  room  quieted  his  mind,4  and  that  he  hoped 
to  finish  a  scene  that  evening.  His  progress  was  such  that  by 
the  end  of  the  month  he  had  begun  to  be  sanguine  of  completing 
the  work,  but  just  at  that  time  he  was  obliged  to  undertake  a  jour- 

i  St.  III.  Mbtb.  i:  79.          »  2BI.  IV.  gbtft.  4:  n.  »  S5orlefunflen,  a73. 

«  SJH.  IV.  916$.  4:  12. 


INTRODUCTION.  vii 

ney  for  the  purpose  of  levying  recruits  and  inspecting  the  roads. 
He  took  his  manuscript  with  him  and  worked  at  it  whenever  it  was 
possible.  On  March  2  he  wrote1  from  Dornburg  that  his  "  piece 
was  taking  form  and  acquiring  limbs."  He  continued  working 
there  through  the  morning  of  the  5th,  and  seems  to  have  felt  satis- 
fied with  his  progress,  for  the  day  before  he  wrote  *  to  Frau  von 
Stein  that  he  hoped  to  have  the  drama  ready  by  his  return  to 
Weimar  on  the  nth  or  I2th,  though  he  adds,  "it  will  still  be 
only  a  sketch.  We  will  then  see  what  color  to  lay  on."  From 
Apolda  he  wrote3  on  the  evening  of  the  5th,  complaining  of  the 
distractions  there,  and  remarked  *  in  a  note  to  Knebel  that  without 
the  few  days  at  Dornburg  "  the  egg,  half-brooded,  would  have 
addled.'1  But  at  Apolda  he  was  unable  to  accomplish  anything. 
On  the  6th  he  wrote,5  "  The  drama  will  not  go  on  at  all  here; 
it  is  abominable,  the  King  of  Tauris  is  to  talk  as  if  no  stocking- 
weavers  were  starving,"  and  the  next  day,  before  leaving  the  place, 
he  wrote6  to  Frau  von  Stein  of  his  dissatisfaction,  and  particularly 
of  one  scene  that  had  troubled  him  greatly.  From  the  allusion  to 
the  king  it  is  probable  that  he  referred  to  the  scene  in  the  first 
act  between  Iphigenia  and  Thoas.  That  once  accomplished,  the 
drama  seems  to  have  progressed  again,  for  on  the  gth,  according 
to  his  journal,7  he  put  together  the  first  three  acts.  Two  days 
later  he  returned  to  Weimar,  and  on  the  I3th  he  read8  them  aloud 
to  the  duke  and  to  Knebel,  whom  he  wished  to  take  the  part  of 
Thoas.  Knebel  seems  to  have  been  unwilling  to  undertake  the 
r&le,  for  in  a  letter  to  him  on  the  following  day  Goethe  wrote,9 
"  If  your  opposition  cannot  be  overcome,  then  this  too,  with  other 
more  serious  plans  and  hopes,  may  sink  into  the  silent  depths  of 
the  sea."  The  protest  was  effectual,  and  on  the  I5th  he  sent10  to 
him  the  manuscript,  with  the  request  that  he  should  read  it  to 
Herder  and  aid  Prince  Constantin  with  the  r61e  of  Pylades.  The 

»  SBf.  IV.  abt&.  4:  13.         *  ibid.,  15.         »  Ibid.,  17.         «  Ibid.,  16. 
«  Ibid.,  i*.  c  Ibid.,  I9.  7  gat.  in.  <abt&.  ,.  83.  •  Ibid.,  83. 

•  3BMV.  abt&.  4:  22.  10  Ibid.,  23. 


viii  INTRODUCTION. 

next  day  he  went  to  Ilmenau,  intending  not  to  return  till  the 
drama  was  done.  The  two  days  following  he  accomplished  but 
little,  but  on  the  igth,  as  mentioned  above,  he  composed  the 
entire  fourth  act.  After  his  return  to  Weimar  on  the  24th,  his 
letters  give  no  further  information,  and  his  journal  notes  only  that 
he  completed  l  the  drama  on  the  28th,  read  it  aloud  the  next  eve- 
ning, and  on  April  ist  was  busied  with  the  rehearsal.  It  was 
played  for  the  first  time  on  Easter  Tuesday,  April  6,  Corona 
Schrbter  taking  the  part  of  Iphigenia  and  Goethe  himself  appear- 
ing as  Orestes.  Of  its  success  his  journal  records  that  the  effect 
was  good,  especially  upon  pure  men. 

With  the  form  in  which  the  drama  was  first  presented,  Goethe 
was  by  no  means  satisfied,  and  the  approval  with  which  it  was 
received  in  Weimar  did  not  change  his  opinion.  He  denied  all  re- 
quests for  copies  of  the  work,  and  in  July  in  a  letter  to  Karl  Theodor 
von  Dalberg,  who  wanted  to  present  it  at  Mannheim,  he  wrote,2 
"  It  is  much  too  carelessly  written  to  be  allowed  to  venture  at  once 
from  the  amateur  stage  (gefetlfdjaftltcfyen  Sweater)  into  the  open 
world."  It  was  given  at  Weimar  two  or  three  times  by  members 
of  the  court,  and  in  April  of  the  following  year  the  poet  undertook 
a  revision  in  metrical  form.  This  version  has  been  preserved  in 
Lavater's  autograph  copy  of  a  manuscript  that  Goethe  allowed 
Knebel  to  take  with  him  when  he  went  to  Switzerland  in  July.  It 
was  first  printed  in  full  by  Baechtold.3  The  meter  is  free  iambic, 
some  verses  having  only  one  or  two,  and  others  seven  or  even 
eight  accents.  A  comparison  with  the  original  form  shows  the  fre- 
quent elision  of  a  vowel,  changes  in  the  order  of  words,  and  often 
the  repetition  of  a  word  or  phrase.  There  are  one  or  two  slight 
omissions  and  a  few  equally  unimportant  additions.  In  the  second 
scene  of  Act  II  there  is  also  a  lacuna  of  some  forty  lines,  — the 
passage  in  which  Pylades  tells  Iphigenia  of  her  father's  fate.  The 


.  in.  w>ti).  i:  84.       *  SBI.  iv.  mti).  4: 47. 

etfce8  3p&igeme  ouf  SauriS  in  oierfatlier  ©eftalt. 


INTRODUCTION.  IX 

revision  was  evidently  a  hasty  one  ;  it  was  in  fact  little  more  than 
a  transcription  divided  into  lines  of  irregular  length.  It  is  of  no 
value  for  a  critical  study  of  the  text,  and  its  only  real  interest  is  in 
making  evident  the  essentially  rhythmic l  character  of  the  prose 
draft.  Goethe  was  still  unsatisfied  with  it,  and  in  a  letter  to  La- 
vater  in  October,  1780,  he  wrote,2  "I  do  not  like  to  allow  my 
3pf)igenie,  as  it  now  is,  to  be  frequently  copied  and  to  get  among 
people,  because  I  am  busied  imparting  more  harmony  of  style  to  it, 
and  consequently  changing  it  here  and  there.  Be  kind  enough  to 
give  that  as  an  excuse  to  those  that  wanted  a  copy  of  it.  I  have 
already  refused  it  frequently." 

A  second  revision  was  undertaken  in  1781,  in  which  the  metri- 
cal version  was  discarded  and  the  work  again  based  upon  the 
original  prose  draft.  Goethe  probably  began3  the  revision  in 
April ;  from  two  brief  entries  in  his  journal 4  it  appears  that  he  was 
doing  something  at  it  in  August,  and  in  November  he  regarded 8  it 
as  completed. 

The  changes,  additions  and  improvements  made  in  this  revi- 
sion Baechtold  characterizes6  as  'essential.'  Comparison  with  the 
original  form  shows  frequent  change  in  word-forms  by  the  elision 
or  retention  of  e  or  /,  correction  of  the  irregular  use  of  strong  ad- 
jective endings  and  classical  terminations,  variations  in  number, 
case  and  tense,  as  well  as  occasional  changes  in  the  arrangement 
of  words  and  the  expression  of  a  thought.  The  principles  of  clear- 
ness and  euphony  seem  to  have  determined  the  changes  made,  but 
at  the  same  time  they  were  not  consistently  or  systematically  car- 
ried out.  In  mentioning  its  completion,  Goethe  himself  expressed 
regret  that  circumstances  had  made  his  work  desultory,  and  though 
he  allowed  several  copies  of  the  revision  to  be  made,  and  either 
loaned  or  presented  them  to  intimate  friends,  he  was  not  ready  to 
publish  it.  He  did  not  regard  it,  so  he  intimated  in  a  letter  to 

i  Cf.  Minor,  TOetrit,  314.  *  2Bf.  IV.  <Hbt&,.  4:  318. 

»  Cf.  2Bf.  IV.  aibtb..  5:  113.  «  2Bt.  III.  Mbtb,.  i:  128,  131. 

6  2Bf.  IV.  Hbtb,.  5:  225.          «  3p&igenie  ouf  ZouriS  in  pierfacfcer  OJeftalt,  viii. 


X  INTRODUCTION. 

i 

F.  H.  Jacobi  as  a  worthy  fulfilment  of  old  hope...  -....,..  .  .  ..  March, 

1783,  he  expressly  requested2  Kestner  not  to  show  his  copy  to 
any  one  through  whom  portions  of  it  might  get  into  print.  The 
fear  that  this  might  happen  in  the  case  of  works  still  in  manuscript, 
together  with  the  danger  that  unauthorized  reprints  of  his  pub- 
lished works  might  be  undertaken,  led  him  in  1786  to  advertise 
an  edition  of  his  collected  writings.  $pf)igenie  was  to  appear  in 
the  third 3  volume  of  this  edition,  and  for  that  purpose  the  revision 
was  begun,  which  resulted  in  giving  the  drama  its  final  form. 

The  first  intimation  of  this  revision  is  a  request 4  that  Frau  von 
Stein  will  send  her  copy  of  Qpljtgettie  to  Wieland,  'who  already 
knows  what  he  is  to  do  with  it.'  Wieland's  Sllcefte  was  written  in 
free  iambics,  and  the  influence  of  that  work,  as  well  as  his  advice,* 
seem  to  have  caused  Goethe  to  think  of  giving  his  drama  a  similar 
metrical  form.  To  that  end  he  appears  to  have  had  his  secretary 
make  a  copy6  divided  into  the  irregular  verses  to  which  the 
rhythmic  prose  readily  lent  itself,  and  to  have  taken  this  copy  to 
Karlsbad  for  further  correction.  From  there  he  wrote7  on  August 
23,  "  Now,  since  it  is  divided  into  verses,  it  gives  me  new  pleas- 
ure ;  one  also  sees  sooner  what  still  needs  improvement.  I  am 
working  on  it  and  expect  to  finish  to-morrow."  Herder,  however, 
seems  to  have  objected  to  the  irregular  measure,  and  a  few  days 
later  Goethe  wrote 8  to  him,  "After  your  departure,  I  continued 
to  read  in  the  Electra  of  Sophocles.  The  long  iambics  without 
pause  and  the  peculiar  movement  and  roll  of  the  period  have  so 
impressed  themselves  upon  me  that  now  the  short  lines  of  the 
Spljigenie  seem  rough,  discordant  and  unreadable.  I  began  at 
once  to  alter  the  first  scene."  With  Herder's  help  he  made  many 
changes  in  the  drama  while  he  remained  at  Karlsbad,  and  at  his 
advice  he  took  the  manuscript  with  him  when  he  set  out  for  Italy. 

He  resumed  the  work   Sept.   12  at  Torbole,  on    Lake  Garda, 

i  2Bf.  IV.  3lbt$.  6:  92.  '  Ibid.,  6:  I36.  a  ibid.,  7:  235. 

«  Ibid.,  7:  230.  s  Ibid.,  8:  134.  e  Cf.  ffit.  I.  2lbtl).  10:  389. 

1  mi.  IV.<ttbtb,.8:  7-  8  Ibid.,  8:  8. 


INTRODUCTION.  XI 

where  he  added  some  lines  in  the  first  scene,  and  at  Verona  he 
decided  that  it  would  be  necessary  to  make  a  fresh  copy.  In  a 
letter  to  Karl  August  on  the  i8th  he  wrote,1  "  I  am  working 
3pf)igenie  through.  It  assumes  new  life  (©§  quiUt  auf)  and  the 
halting  meter  is  transformed  into  continual  harmony."  He  hoped 
to  finish  the  drama  by  the  end  of  October,  but,  as  he  afterward 
remarked,2  he  was  deceived  regarding  the  difficulty  of  the  task  he 
had  undertaken.  He  worked  on  it  at  Vicenza  and  at  Venice,  and 
from  the  latter  city  he  wrote  3  to  Herder  on  the  I4th  of  October, 

"  I  have  still  something  to  do  on  3pf)tgeme The  fourth 

act  is  almost  entirely  new.  The  passages  that  were  most  complete 
bother  me  the  most.  I  should  like  to  bend  their  tender  head, 
beneath  the  yoke  of  the  verse  without  breaking  their  necks.  Yet 
it  is  remarkable  that  for  the  most  part  a  better  expression  joins 
itself  with  the  meter."  He  had  already  given  up  the  idea  of  finish- 
ing the  drama  in  Venice,  but  remarked4  in  his  journal,  "  It  shall 
lose  nothing  in  my  company  under  this  sky."  After  leaving  there 
he  did  nothing  with  the  drama  till  after  his  arrival  in  Rome, 
though  it  was  constantly  in  his  thoughts.  Thus,  when  at  Bologna, 
he  saw  a  St.  Agatha  painted  by  Raphael  in  '  blooming  and  tranquil 
maidenliness,  without  sensual  charm  and  yet  without  coldness  and 
austerity,'  he  expressed  s  his  purpose  of  «  reading  his  ^Pfrgenie  to 
this  ideal  and  allowing  his  heroine  to  say  nothing  that  that  holy 
being  might  not  utter,'  and  a  few  days  later  he  remarked6 
again,  "  So  then  Iphigenia  must  go  with  me  to  Rome.  What 
will  become  of  the  child  ?  " 

Goethe  arrived  in  Rome  Oct.  29,  1786,  and  a  few  days  later  a 
letter  to  Herder  shows  that  work  on  the  drama  had  already  been 
resumed,  his  mornings  being  devoted  to  writing  and  the  rest  of  the 
day  to  sight-seeing.  In  a  letter  of  Dec.  2,  he  says,7  "Every 
morning  before  I  get  up,  something  is  written  on  ^pfjigenie.  Each 

i  2Bt.  IV.  Slbtb,.  8:  25.  *  Ibid.,  8:  32.  =>  ibid.,  8:  52. 

«  SBf.  III.  «btb,.  i:  289.  s  Ibid.,  i:  306.  •  Ibid.,  i:  315. 

7  381.  IV.  Mbt^.  8:  76. 


xii  INTRODUCTION. 

day  I  achieve  a  passage,  and  the  whole  is  turning  out  well." 
Though  he  had  already  revised  the  fourth  act  while  at  Venice,  he 
must  have  gone  over  the  whole  drama  again,  for  after  it  was 
finished  he  spoke  1  of  half  the  work  on  it  as  having  been  done  at 
Rome.  On  the  2Qth  of  December  the  work  was  finished  and  he 
wrote2  to  Herder,  "I  am  glad  to  announce  at  last  that  my 
3pf)tgenie  is  completed,  and  that  two  copies  of  it  are  lying  upon  my 
table.  I  should  still  like  to  improve  a  few  verses,  and  for  that  I 
will  keep  it  another  week."  It  was  not,  however,  till  Jan.  13, 
1787,  that  his  <S<f)mer3en§finb,3  as  he  afterward  called  the  drama,  was 
sent  to  Weimar.  In  an  accompanying  note  he  dedicated  4  the  work 
to  Herder.  In  another  letter  of  the  same  date  he  expressed  the 
hope  that  he  had  now  more  nearly  realized  his  friend's  ideal  of  the 
poem  as  a  work  of  art,  and  commissioned  him  to  do  what  he  would 
with  it,  but  especially  to  improve  its  euphony. 

It  is  impossible  to  determine  just  what  alterations  Herder  made 
in  the  drama.  He  was  not  fully  satisfied  with  it,  and  had,  perhaps, 
desired  more  radical  changes  than  were  made.  Goethe  had,  as  he 
himself  said,5  rather  paraphrased  (umgefcfjrieben)  than  rewritten 
(imtgeorbettet)  the  prose  drama,  but  time  and  circumstances  forbade 
anything  further.  With  such  corrections  as  Herder  saw  fit  to  make, 
it  was  sent  to  press  and  appeared  in  the  3d  volume  of  Goethe's 
28erfe,  printed  by  Gbschen  at  Leipzig  in  1787. 

SOURCES   OF   THE   DRAMA. 

The  apparent  blending  of  the  classical  and  the  modern  in 
Goethe's  ^pfjigenie  cmf  £cmrt§  at  once  suggests  the  question  of  the 
poet's  relation  to  his  sources. 

His  literary  incentive  as  well  as  some  of  the  most  salient  features 
of  his  story  he  undeniably  owes  to  the  Euripidean  tragedy  of  like 
name,  a  fact  that  is  shown  by  the  following  brief  outline  of  its  plot. 

1  9BI.  IV.  8lbt&.  8:  194.  »  Ibid.,  8:  108. 

'  Cf.  atalieniffte  SReife,  H.  145.  4  3551.  IV.  abt&.  8:  K3.  »  ibid.,  8:  175. 


INTRODUCTION.  Xlll 

In  an  opening  monologue  Euripides  makes  the  priestess  Iphige- 
nia  relate  a  dream  of  the  preceding  night,  which  she  interprets  as 
portending  the  death  of  her  brother  Orestes,  and  accordingly  she 
withdraws  and  prepares  to  pay  him  funeral  rites.  In  the  next 
scene  it  appears  that  Orestes,  who  enters  with  Pylades,  has  come 
to  Tauris  at  the  command  of  Phrebus,  having  been  promised  release 
from  the  pursuit  of  the  furies  if  he  brought  the  image  of  Artemis  to 
Athens.  As  the  attempt  seems  impossible  the  two  withdraw  to 
the  caves  along  the  sea-shore  to  await  night-fall.  Iphigenia  returns 
and  is  bewailing  with  the  chorus  her  own  wretched  destiny  and  her 
brother's  death,  when  a  herdsman  enters  and  bids  her  prepare  to 
consecrate  to  the  goddess  two  Greeks  that  have  just  been  found 
upon  the  shore.  He  relates  the  details  of  their  capture  and  de- 
scribes the  frenzy  of  one  of  them  under  an  attack  of  the  Furies. 
She  orders  them  to  be  brought  to  her,  but  as  she  recalls  the  sacrifice 
at  Aulis  in  which  she  was  the  victim,  she  reproaches  the  goddess 
for  desiring  human  blood,  and  questions  whether  barbarian  cruelty 
has  not  imputed  to  the  gods  a  baseness  that  seems  to  her  incredible. 

When  the  captives  are  brought  in,  Iphigenia  orders  their  fetters 
removed  and  then  inquires  about  their  parentage  and  native  land. 
Orestes  at  first  refuses  to  answer,  but  at  length,  without  telling  his 
name,  mentions  Mycenae  as  his  birthplace.  She  then  plies  him 
with  questions  about  the  heroes  of  the  Trojan  war,  learns  the  fate 
of  her  parents  and  that  Orestes  is  still  living.  Accordingly  she 
proposes  to  send  one  of  the  prisoners  with  a  message  to  him  and  to 
sacrifice  the  other.  Orestes  insists  that  the  letter  must  be  given 
to  Pylades,  and  asks  about  his  own  impending  death  and  burial 
rites.  While  Iphigenia  goes  to  fetch  her  letter,  the  two  friends 
express  their  surprise  at  her  interest  in  the  house  of  Agamemnon, 
and  then  Pylades  declares  that  he  will  die  with  Orestes.  The 
latter  will  not  consent  to  this,  but  urges  his  return  to  Mycenae,  to 
pay  for  him  due  funeral  rites  and  by  a  marriage  with  Electra  to 
perpetuate  the  royal  family.  Pylades  consents  and,  when  Iphige- 
nia returns,  takes  an  oath  to  deliver  the  letter ;  but  lest  it  be  lost 


xiv  INTRODUCTION. 

by  shipwreck,  she  also  tells  him  its  contents,  and  the  recognition 
of  brother  and  sister  is  thus  brought  about.  Orestes  then  tells  ot 
the  oracle  by  which  he  had  been  sent  to  Tauris  and  asks  his  sister's 
aid  in  carrying  away  the  image  of  the  goddess.  She  suggests  the 
plan  of  telling  the  king  that  the  strangers  have  polluted  the  image, 
and  that,  before  the  sacrifice  may  proceed,  both  it  and  the  victims 
must  be  purified  by  laving  in  the  sea.  She  appeals  to  the  chorus 
not  to  betray  her,  and  addresses  a  brief  prayer  to  Artemis  for  pro- 
tection. When  the  king  comes  to  ask  about  the  sacrifice,  she 
imposes  upon  his  credulity,  and  taking  the  image,  withdraws  with 
the  captives  to  the  sea-shore.  A  messenger  soon  arrives  and  makes 
known  the  attempted  flight,  which  Poseidon  has  hindered  by  a 
tempest.  But  pursuit  is  interrupted  by  the  appearance  of  Athena 
who  bids  Thoas  let  the  fugitives  go,  and  instructs  Orestes  to  take 
the  image  to  Athens,  where  Iphigenia  shall  continue  to  exercise  her 
priestly  office. 

From  this  analysis  it  appears  at  once  that  Euripides  not  only 
supplied  Goethe  with  the  general  subject  of  his  drama,  —  Iphige- 
nia's return  to  Greece  and  the  release  of  Orestes  from  the  curse  that 
rested  upon  his  race, — but  that,  excepting  the  r61e  of  Arkas, 
Goethe  has  the  same  characters  and  scene,  and  as  far  as  his  differ- 
ent purpose  permitted  has  used  the  same  motives.  Thus  directly 
suggested  by  Euripides  are  the  arrival  of  Orestes  and  Pylades  at 
Tauris  in  obedience  to  the  oracle  of  Apollo ;  their  capture  on  the 
sea-shore  ;  Orestes'  frenzy  ;  his  generous  desire  to  save  his  friend 
even  at  the  cost  of  his  own  life ;  questions  leading  toward  recogni- 
tion ;  Iphigenia's  feeling  that  men  attribute  their  own  cruel  desires 
to  the  gods  ;  her  prayer  to  Diana  for  rescue  ;  and  finally  the  story 
with  which  it  is  proposed  to  deceive  the  king. 

Goethe's  dramatic  solution,  however,  is  totally  unlike  that  of 
Euripides,  for  instead  of  an  external  solution  effected  by  a  deus  ex 
machtna,  he  has  introduced  the  psychological  motive  of  Iphigenia's 
unwillingness  to  deceive  the  king.  This  motive  he  has  worked  out 
in  a  manner  at  once  original  and  in  accord  with  the  philosophical 


INTRODUCTION.  XV 

spirit  of  his  age,  though  unquestionably  he  owes  its  suggestion,  as 
Scherer  pointed  out,  to  the  Sophoclean  tragedy  of  Philoctetes. 
That  drama  deals  with  the  plot  of  Odysseus  to  get  from  Philoctetes 
the  never-failing  bow  of  Hercules.  On  the  Trojan  expedition 
Philoctetes  had  been  punished  for  violating  the  shrine  of  Chryse, 
by  a  serpent  bite  in  his  foot,  and  because  of  his  cries  of  anguish  and 
his  noisome  wound,  his  comrades  had  abandoned  him  at  Lemnos. 
After  the  siege  of  Troy  had  lasted  ten  years,  the  oracle  declared 
that  the  city  might  be  taken  by  Neoptolemus,  but  only  if  armed 
with  the  bow  of  Hercules.  The  action  of  the  drama,  therefore, 
begins  with  the  arrival  of  Odysseus  and  Neoptolemus  at  Lemnos  to 
obtain  the  bow.  Neoptolemus  reluctantly  consents  to  a  falsehood 
devised  by  Odysseus,  and  gaining  the  confidence  of  Philoctetes  by 
feigning  that  he  has  deserted  the  Greek  cause,  he  promises  to  take 
him  to  his  home.  When  about  to  embark,  Philoctetes  is  overcome 
by  a  paroxysm  of  pain  caused  by  his  wound,  and  intrusts  his  bow 
to  the  youth.  The  sight  of  his  agony,  however,  recalls  Neopto- 
lemus to  his  better  self,  and  when  Philoctetes  regains  consciousness, 
he  confesses  the  intended  treachery,  and  afterward,  in  spite  of  the 
protests  of  Odysseus,  not  only  surrenders  the  bow,  but  when 
Philoctetes  will  not  be  persuaded  to  accompany  him  to  Troy,  pre- 
pares to  redeem  his  perfidious  pledge,  and  take  him  to  his  home. 
At  this  juncture  Hercules,  descending  from  the  sky,  cuts  the 
dramatic  knot  by  commanding  Philoctetes  to  go  to  Troy,  where 
he  promises  that  his  disease  shall  be  cured,  and  that,  with  the  aid 
of  Neoptolemus,  he  shall  sack  the  city. 

The  resemblance  between  the  spirit  of  absolute  truthfulness, 
manifested  by  Neoptolemus,  and  by  Iphigenia,  is  at  once  evident, 
and  that  this  is  not  accidental  is  shown  by  the  close  correspondence 
in  details.  In  both  dramas  the  deception  is  undertaken  from 
praiseworthy  motives  :  —  Neoptolemus  hoping  to  achieve  renown  for 
himself  and  to  end  the  war  for  his  countrymen  ;  Iphigenia  desiring 
to  return  home  and  to  atone  for  the  crimes  of  her  race.  Each 
repeats  a  story  devised  by  another  in  which  elements  of  truth  are 


Xvi  INTRODUCTION. 

combined  with  falsehood.  In  uttering  the  lie  each  is  conscious  that 
the  action  violates  his  own  inner  nature,  and  with  each  it  is  also  an 
impulse  from  without  that  makes  deception  impossible.  The  sight 
of  Philoctetes'  suffering  recalls  Neoptolemus  to  his  true  self  and 
Arkas  reminds  Iphigenia  of  the  gratitude  she  owes  the  king.  Finally 
by  acknowledging  the  truth  each  renounces  his  most  cherished 
hopes  and  exposes  himself  to  extreme  danger.  In  several  of  these 
instances  of  similarity  in  thought,  Goethe's  expression  at  once  re- 
calls1 to  the  reader  the  verses  of  Sophocles.  It  must,  however, 
be  noted  that  in  Sophocles  the  hero's  truthfulness  does  not  de- 
termine the  issue  while  in  Q^igente  it  depends  upon  it. 

The  study  of  Goethe's  sources,  however,  includes  more  than  the 
combination  of  the  Euripidean  story  with  the  truth-motive  in 
Philoctetes.  The  two  supplied  the  general  outline,  but  many 
additions  and  modifications  are  to  be  referred  partly  to  classical 
and  partly  to  modern  sources.  To  the  former  belongs  the  recital 
of  the  crimes  entailed  in  the  House  of  Pelops  by  the  hereditary 
curse.  The  portion  of  this  story  told  by  Iphigenia  to  the  king  is 
based  on  the  fables  of  Hyginus.  This  is  shown  by  the  fact  that 
from  no  other  source  could  Goethe  have  taken  the  names,  used  in 
earlier  versions  of  the  drama,  of  Chrysippus,  the  son  of  Pelops, 
whom  his  brothers  murdered,  and  of  Plisthenes,  the  son  of  Atreus, 
whom  Thyestes  stole.  Further,  all  the  circumstances  of  the  feud 
between  Atreus  and  Thyestes  agree  with  the  details  given  by 
Hyginus,  except  the  passage,  introduced  into  the  final  version, 
describing  Thyestes'  apprehension  concerning  his  sons.  That 
was  imitated  from  the  Thyestes  of  Seneca.8 

In  the  remainder  of  the  story,  which  is  told  either  by  Pylades  or 
by  Orestes,  many  details  are  to  be  referred  to  the  Electra  of  Sopho- 
cles or  to  Euripides'  tragedy  of  the  same  name.  Both  of  these 
agree  in  representing  the  murder  of  Agamemnon  as  Clytemnestra's 
revenge  for  the  sacrifice  of  Iphigenia,  and  both  describe  the  fatal 

i  Xitffttle  iiber  Ooetfte.  172.       *  Cf.  notes. 


INTRODUCTION.  Xvii 

blow  as  struck  by  ^Egisthus.  The  passage  in  which  Orestes  tells 
of  his  mother's  appeal  for  mercy  is  probably  based  upon  Euripides, 
and  certainly  to  his  suggestion  is  due  the  mention  of  the  blood- 
stains still  showing  on  the  floor  and  the  scar  between  Orestes' 
eye-brows.  The  reference  to  Electra's  wretched  lot  and  to  her 
share  in  urging  Orestes  on,  though  described  by  Euripides,  is  more 
in  the  spirit  of  Sophocles,  and  he  alone  speaks  of  Orestes'  rescue 
by  his  sister  on  the  day  of  Agamemnon's  murder.  His  influence 
is  also  especially  shown  in  the  description  of  the  arrival  of  Orestes 
and  Pylades  at  Mycenae,  as  though  bringing  news  of  Orestes'  death 
together  with  his  ashes. 

It  now  remains  to  consider  the  elements  in  the  drama  that  must 
be  referred  to  modern  sources.  Such  are  the  king's  suit  for  Iphi- 
genia,  the  greater  prominence  of  the  Orestes-Pylades  scenes,  the 
method  of  bringing  about  the  recognition  and  many  of  the  details 
in  the  frenzy  scene.  The  first  of  these  has  usually  been  referred 
directly  to  the  influence  of  Racine's  sketch  of  an  Iphigtnie  en  Tau- 
ride,  in  which  the  king's  son  seeks  the  hand  of  the  priestess,  and 
from  which  the  name  of  Arkas  was  borrowed.  Morsch  has  how- 
ever traced  *  the  motive  directly  to  Lagrange,  who  makes  the  king 
himself  the  suitor.  Goethe  follows  him  not  only  in  the  general 
motive,  but  in  Iphigenia's  objection  that  the  Gods  do  not  approve 
of  such  a  union,  as  well  as  the  plea  that  her  life  is  devoted  to  the 
goddess  and  that  too  great  an  honor  is  shown  to  the  unknown 
stranger. 

For  the  additions  that  Goethe  has  made  to  the  dialogue  between 
Orestes  and  Pylades,  various  sources  have  been  suggested.  Seuf- 
fert,  who  claims  2  that  the  $pi)igente  was  written  not  indeed  in  the 
style,  but  in  the  spirit,  of  Wieland's  Sllcefte,  connects  the  dialogue 
between  Stbmet  and  §ercu!e<S  with  that  between  the  two  friends. 
Morsch  points  out  the  similarity  between  the  scene  and  one  in' 


i  »ierteljo&rfcf>rift  fur  Siteroturgefdjicfcte. 
*  3eitf$rift  fur  beutfdjeS  aite 


xviii  INTRODUCTION. 

Cotter's  etectra,  a  drama  based  on  Voltaire's  Oreste,  and  also  calls 
attention  to  similar  elements  in  J.  E.  SchlegePs  Oreft  Uttb  «JJl)tabe§. 
Goethe  certainly  knew  all  three  of  these  dramas,  and  as  his  pur- 
pose demanded  a  fuller  treatment  than  Euripides  gives,  it  was 
perfectly  natural  that  he  should,  more  or  less  consciously,  borrow 
from  them .  The  specific  elements  that  he  has  taken  from  each  it 
is  not  easy  to  characterize  except  in  detail.  In  a  collocation  of  the 
passages  in  question  his  indebtedness  is  clearly  shown  by  the  simi- 
larity in  diction.  In  general  Wieland  seems  to  have  suggested 
some  phases  of  Orestes'  despair  and  Pylades'  encouragement ;  the 
tender  solicitude  of  the  latter  for  the  former  is  rather  due  to 
Cotter,  and  from  Schlegel  is  taken  almost  literally  Orestes'  first 
speech  concerning  Phoebus'  fulfillment  of  his  oracle.  The  advice 
of  Pylades  to  conceal  their  identity  and  the  motive  of  an  invented 
story  of  their  origin  is  also  due  to  his  influence. 

In  the  recognition  scene  Cotter's  influence  upon  Goethe  is 
especially  marked.  With  both  poets  fraternal  love  intuitively 
asserting  itself  is  an  important  element  in  bringing  about  the  recog- 
nition. After  Orestes  in  Goethe's  drama,  out  of  reverence  for  the 
pure  soul  of  the  priestess,  discloses  his  own  identity,  the  situation 
is  similar,  with  the  roles  reversed,  to  that  in  Cotter's  tragedy, 
where  Orestes  knows  Electra,  but  is  himself  unknown.  Iphigenia's 
inmost  being  is  attracted  to  her  brother,  and  this  feeling  is  her 
surety  that  she  has  not  been  deceived  or  imposed  upon.  In  a 
similar  way  Electra,  attempting  to  execute  vengeance  upon  Orestes, 
whom  she  supposes  to  be  the  murderer  of  her  brother,  is  not  only 
unable  to  lift  the  sword  against  him,  but  is  involuntarily  attracted 
to  him.  With  Goethe's  Orestes  fraternal  affection  gradually 
asserts  itself  and  enables  him  to  comprehend  the  disclosure  that 
Iphigenia  is  attempting  to  make  ;  with  Cotter,  though  commanded 
by  the  oracle  not  to  reveal  himself,  he  is  unable  to  resist  the  in- 
fluence of  his  sister's  presence  and  betrays  himself.  Cotter's 
influence  is  also  shown  in  various  details  of  the  frenzy  scene  that 
follows  the  recognition.  The  lines  just  before  Orestes  sinks 


INTRODUCTION.  xix 

down  in  unconsciousness  find  close  parallels  in  Cotter,  and  further- 
more, while  the  frenzied  notion  of  being  in  Hades  is  Greek,  the 
idea  of  meeting  and  addressing  there  the  spirits  of  the  departed 
heroes  of  his  own  house  is  an  idea  that  Goethe  probably  owes  to 
him.  The  motive  was  a  development  in  French  tragedy  of  the 
Homeric  idea ;  Gotter  took  it  from  his  sources,  and  that  Goethe 
was  influenced  by  him  rather  than  by  his  originals  seems  probable 
from  the  common  allusion  to  Tantalus.  Goethe's  development  of 
the  scene,  however,  into  a  soothing  and  peaceful  vision  is  in 
marked  contrast  not  only  to  Gotter,  but  to  his  sources,  in  which  it 
is  one  of  extreme  horror.  A  hint  for  it,  as  well  as  the  allusion  to 
Lethe,  is  perhaps  to  be  referred  to  Wieland's  2llcefte,  but  the  poet 
is  certainly  very  original  in  making  this  the  prelude  of  Orestes' 
complete  recovery. 

Finally  it  may  be  remarked  that  beside  the  motives  already 
mentioned,  which  have  to  do  with  the  development  of  the  drama, 
closer  analysis  shows  many  lines  and  passages  that  evidently  owe 
their  form  to  reminiscences  of  the  poet's  reading.  These,  of  course, 
can  only  be  treated  singly,  and  are  frequently  cited  in  the  commen- 
tary. The  diction  of  the  poem  also  was  distinctly  influenced  by 
classical  sources.  In  fact  at  the  time  that  Goethe  completed  the 
drama  his  mind  was  so  imbued  with  the  spirit  of  classical  antiquity 
that  it  found  natural  expression  in  the  phrase  of  the  tragic  poets 
and  of  Homer. 

CRITICAL   STUDY   OF   THE   DRAMA. 

The  central  thought  in  the  drama  is  Iphigenia's  return  to  ex- 
piate the  guilt  of  her  race. 

The  goddess  Diana,  after  saving  Iphigenia  from  sacrifice  at  Aulis, 
had  kept  her  for  many  years  in  the  Taurian  temple.  As  she  re- 
flected there  upon  the  divine  intention  in  thus  saving  her  from  the 
hereditary  curse  that  rested  upon  her  family,  her  mind  became 
possessed  with  a  deep  belief  in  its  beneficence,  which  her  filial  de- 


XX  INTRODUCTION. 

votion,  influenced  by  the  associations  of  her  priestly  office,  led  her 
to  interpret  as  a  gracious  purpose  of  atonement  to  be  accomplished 
through  her.  From  the  longing  expression  of  loneliness  and  exile 
in  the  opening  monologue  to  the  full  realization  of  her  hope  in  the 
last  scene,  that  thought  runs  through  the  whole  drama,  giving  unity 
to  its  action,  and  explaining  the  development  of  thought  and  feeling 
that  Goethe  called  the  inner  life  of  the  piece. 

It  explains,  in  the  first  place,  Iphigenia's  gloom  and  reserve 
toward  the  Taurian  people.  Her  silence  concerning  her  origin  was 
due  to  her  fear  of  being  either  driven  from  her  asylum  or  of  finding 
herself  bound  there.  She  had  simply  to  await  the  divinely  ap- 
pointed hour,  and  in  the  sadness  of  hope  deferred,  she  gloomily- 
regarded  her  life,  in  spite  of  its  beneficent  influence,  as  thwarted  by 
an  alien  curse ;  at  the  same  time  she  dreaded  the  king's  suit,  because 
it  threatened  the  aspirations  she  despaired  of  realizing.  When, 
however,  Thoas  assures  her  of  his  further  protection  and  promises 
to  make  no  demands  upon  her,  if  she  can  hope  for  return,  she 
discloses  her  descent  from  the  house  of  Tantalus.  By  the  recital 
of  the  crimes  of  her  ancestors  she  seeks  to  repel  him,  and  failing 
in  that,  pleads  her  consecration  to  the  goddess  and  her  longing  for 
her  kindred.  In  all  this  the  king  sees  only  evasion  and  caprice, 
and  in  his  anger,  no  longer  restrained  by  her  influence,  orders  the 
renewal  of  human  sacrifice.  The  dramatic  conflict  is  thus  pre- 
cipitated. Obedience,  even  more  than  union  with  the  king, 
would  be  fatal  to  her  hopes,  for  shedding  human  blood  would 
involve  Iphigenia  herself  in  the  curse  of  her  race. 

There  seems  to  be  no  alternative,  but  with  unshaken  faith  in  the 
beneficence  of  the  gods,  she  implores  Diana,  who  saved  and  has 
kept  her  so  long,  to  vouchsafe  her  further  protection  and  to  keep 
her  hands  from  blood.  The  first  act  thus  ends  in  the  utmost  sus- 
pense. 

With  the  appearance  of  Orestes  and  Pylades,  the  possibility  of 
some  solution  is  at  once  suggested.  But  before  Orestes  can  be- 
come the  agent  of  its  accomplishment,  his  own  despair  and  guilty 


INTRODUCTION.  XXI 

frenzy  must  give  place  to  a  healthful  mental  and  spiritual  condition. 
Such  a  change  can  be  wrought  only  by  some  power  outside  himself, 
and  as  Pylades  is  unable  to  bring  this  about,  Iphigenia's  influence 
is  alone  left  as  a  means  of  restoring  him  to  himself.  With  the 
tidings  of  her  father's  death  it  is  also  evident  that  her  only  hope 
must  depend  on  her  brother.  Thus  their  dependence  upon  each 
other  is  mutual  and  becomes  an  essential  part  in  the  unity  of  the 
drama. 

Under  such  conditions  the  two  meet  as  strangers.  Iphigenia 
asks  for  confirmation  of  Agamemnon's  death  and  then  anxiously 
inquires  about  Orestes.  Her  joy  that  he  is  living  is  cut  short  by 
the  narrative  of  her  mother's  murder,  but  keenly  as  she  feels  the 
horror  of  that  crime,  the  fate  of  her  unhappy  brother,  upon  which 
her  own  future  so  closely  depends,  is  her  deepest  concern.  The 
gracious  influence  of  her  presence  had  moved  him  to  the  confes- 
sion of  his  crime,  and  her  sympathy  now  makes  him  acknowledge 
his  identity. 

Iphigenia's  first  thought  at  his  disclosure  is  one  of  gratitude  to 
the  gods  that  the  way  has  been  prepared  so  signally  for  the  realiza- 
tion of  her  long-cherished  hope,  and  then,  with  a  fervent  prayer 
for  its  complete  accomplishment,  she  seeks  to  make  herself  known 
to  him .  His  despair  and  remorse  is,  however,  so  absorbing  that  he 
only  gradually  grasps  the  idea  that  the  priestess  is  his  sister,  and 
with  its  fuller  comprehension  he  is  completely  overcome,  with 
frenzy  at  the  horror  of  the  situation.  At  the  same  time  his  soul 
responds  to  the  deep  impression  of  her  purity  and  love  going  out 
in  tenderness  and  sympathy  to  him  in  his  guilt,  and  because  she 
can  still  believe  in  him  and  love  him,  instead  of  avenging  upon 
him  his  crime,  he  believes  in  himself  again.  This  the  poet  has 
shown  in  Orestes'  peaceful  vision  of  the  feuds  of  his  race  reconciled  in 
Hades.  On  regaining  consciousness,  the  idea  of  Iphigenia's  love 
making  atonement  for,  and  expiating  his  guilt,  takes  full  possession 
of  him.  Through  her  personality  his  soul-attitude  is  readjusted; 
he  is  regenerated,  converted.  Inexplicable  to  the  discursive  in- 


xxj|  INTRODUCTION. 

tellect,  the  spiritual  process  is  the  same  that  so  fully  informs 
Browning's  poetry  ;'  it  is  essentially  the  Christian's  conception  of  a 
life  quickened  by  the  Personality  of  Christ.  In  this  sense*  Goethe's 
poem  is  pre-eminently  a  Christian  poem. 

With  her  brother's  restoration,  Iphigenia's  first  impulse  is  flight, 
and  under  the  stress  of  circumstances  she  assents  to  Pylades'  plan 
of  deception.  Upon  reflection,  however,  her  moral  sense  reasserts 
itself.  Not  only  the  burden  of  the  intended  falsehood  weighs  upon 
her,  but  after  her  interview  with  Arkas,  though  unshaken  in  her 
rejection  of  the  king's  suit,  she  realizes  the  ingratitude  of  her  in- 
tended action.  In  the  following  scene  with  Pylades,  the  moral  free- 
dom and  purity  of  her  nature  is  brought  into  contrast  with  its 
exact  opposite  in  the  form  of  external  necessity.  She  is  rather 
constrained  than  convinced  by  him,  and  at  his  withdrawal  despair 
seizes  her.  In  the  moment  when  the  realization  of  hej  hope  had 
seemed  assured,  inexorable  necessity  interposes  and  threatens  to 
involve  her,  through  the  violation  of  her  own  conscience,  in  the  very 
curse  she  would  expiate.  Her  belief  in  the  wise  and  gentle  good- 
ness of  the  gods  is  shaken;  the  defiant  spirit  "of  her  'Titan  race  is 
stirred,  and  though  she  fervently  prays  not  to  be  swayed  by  it,  still 
in  this  mood  the  song  of  the  Parcae  recurs  to  her  mind  and  affords 
her  gloom  and  distraction  fitting  expression. 

Her  conduct  towards  Arkas  caused  Thoas  to  suspect  that  she 
was  planning  to  flee  with  the  captives,  and  accordingly  he  demands 
the  reason  for  delaying  the  sacrifice.  With  the  strength  of  moral 
conviction,  she  reproaches  him  with  his  intended  cruelty  and  his 
arbitrary  conduct,  exposes  his  subterfuge  in  appealing  to  the  law, 
pleads  the  sympathy  roused  by  the  memory  of  her  own  similar 
fate  and  urges  the  unworthiness  of  a  triumph  over  the  weakness  of 
.her  sex.  At  every  point  she  answers  his  objections,  but  is  pressed 
herself  to  the  renunciation  of  every  personal  and  selfish  considera- 
tion and  brought  face  to  face  with  the  moral  issue  alone.  There 

1  Cf.  Corson,  Introduction  to  Browning,  53  ff. 
»  Cf.  Julian  Schmidt.    (Soet^e  S§a&rbu$,  2 :  61. 


INTRODUCTION.  XX111 

is  no  further  appeal  to  be  made.  Deception  is  not  only  precluded 
by  the  king's  watchfulness,  but  the  idea  is  so  alien  to  her  own  spiritual 
nature  that  it  only  recurs  to  her  mind  again  to  be  impulsively  and 
finally  rejected.  Her  soul  vindicates  itself  and  decides  the  struggle 
with  evil  that  had  threatened  to  overwhelm  her;  a  moment  of 
reflection,  a  brief  prayer  to  the  gods,  and  she  answers  directly 
and  fully  the  king's  question  regarding  the  identity  of  the  captives, 
and  puts  into  his  hand  their  fate  and  her  own.  His  angry  incred- 
ulity is  overcome  by  her  emotion,  and  his  nobler  nature  responds 
to  her  appeal  to  his  generosity.  Orestes'  manly  bearing  and  Iphi- 
genia's  proofs  of  his  identity  fully  convince  him,  while  the  true 
interpretation  of  the  oracle  makes  an  appeal  to  arms  unnecessary. 
A  final  urgent  and  pathetic  entreaty,  and  the  king's  love  for  her 
asserts  itself  above  the  claims  of  personal  selfishness  and  desire, 
and  with  a  brief  kindly  farewell  he  permits  Iphigenia  with  Orestes 
to  return  to  her  native  land. 

With  this  central  thought  of  self-renunciation  and  of  moral  re- 
generation, accomplished  through  the  personality  of  Iphigenia  in 
mind,  it  is  interesting  to  ask  whether  here,  as  in  so  many  of  his 
works,  Goethe  intended  the  drama  to  be  typical  of,  and  to  embody 
the  experiences  of  his  own  life.  The  answer  is  undeniably  in  the 
affirmative . 

Goethe  went  to  Weimar  late  in  the  autumn  of  1775,  after  a  year 
that  he  characterized *  in  retrospect  as  the  most  distracted  and  per- 
plexed in  his  life.  The  cause  of  this  was  his  love  for  Lili  Schb'ne- 
mann,  perhaps  the  sincerest  attachment  that  he  ever  formed  and 
the  one  that,  according  to  his  own  statement,  influenced  him  most 
deeply.  In  his  old  age,  at  least,  he  spoke  2  of  her  as  the  first  and 
last  whom  he  had  deeply  and  truly  loved  and  of  his  career  in 
Weimar  as  the  immediate  consequence  of  his  relation  to  her. 
Goethe  met  her  early  in  January,  1775,  was  soon  deeply  infatuated 
and  in  April  was  formally  betrothed  to  her.  But  though  Lili  re- 

i  SBf.  IV.  «bt$.  2:  302.          2  Eckermann.  <3efprS$e,  5.  TOarj  1830. 


Xxiv  INTRODUCTION. 

turned  his  love,  her  calmer  disposition  did  not  satisfy  the  passionate 
jealousy  of  his  nature ;  his  own  eccentric  conduct  and  the  oppo- 
sition of  both  families  further  contributed  to  strain  their  relations. 
But  more  particularly  Goethe's  own  unwillingness  to  limit  himself 
to  the  practice  of  his  profession,  and  in  the  tread-mill  of  daily  work 
and  family  care  to  sacrifice  all  his  ideal  aims  and  poetic  aspirations, 
led  to  the  parting  of  the  lovers.  The  conflict  in  Goethe's  mind 
was  a  long  and  severe  one.  He  felt  himself  innocently  involved 
in  such  circumstances  that  any  course  of  action  must  do  violence 
to  cherished  feelings,  yet  forced  to  act; — an  Orestes  situation. 
Indeed  that  he  thus  defined  it  to  himself  is  shown  by  his  letter 
written1  to  Frau  Karsch,  after  returning  from  Switzerland  in  the 
summer  of  1775,  in  which,  alluding  to  his  state  of  mind,  he  said, 
"  Perhaps  the  unseen  scourge  of  the  Eumenides  will  soon  drive  me 
again  out  of  my  fatherland." 

His  mental  unrest  is  also  shown  most  clearly,  as  well  as  his  need 
of  the  soothing  influence  of  sympathetic  friendship,  in  his  corre- 
spondence at  this  time  with  the  Countess  of  Stolberg.  An  enthu- 
siastic admirer  of  28ertf)er,  she  had  written  him  an  anonymous 
letter,  and  this  unknown  friend,  whose  identity,  however,  he  soon 
discovered,  Goethe  at  once  made  the  confidant  of  all  his  conflicting 
emotions.  His  departure  for  Weimar  ended  his  struggle  and  broke 
his  betrothal  with  Lili,  but  the  memory8  of  it,  with  all  its  pain, 
was  still  fresh  and  keen  in  mind  when  his  Weimar  career  began. 

One  of  the  first  ladies  that  Goethe  met  in  the  court  circles  was 
Frau  von  Stein.  In  her  he  found  a  woman  capable  of  entering 
fully  into  his  best  thoughts,  able  and  willing  to  aid  him  with 
sympathy  and  advice.  Acquaintance  quickly  grew  into  intimacy 
and  soon  she  became  to  him  what  Lili  and  Augusta  Stolberg  together 
had  been,  —  the  object  of  his  passionate  love  and  his  closest  con- 
fidant. In  January  the  series  of  missives  and  letters  was  begun  in 
which,  for  the  next  ten  years,  are  recorded  not  only  the  trivial 

1  2BI.  IV.  9lbty.  2 :  282.  2  Cf.  Sin  fiili,  Wk.  4 :  204. 


INTRODUCTION.  XXV 

details  of  daily  intercourse,  but  the  author's  thoughts  on  the  highest 
problems  of  conduct  and  philosophy,  and  his  poetic  aspirations 
and  achievements.  Goethe's  love  for  Frau  von  Stein,  at  first  im- 
petuous and  stormy,  gradually  gave  place  to  calm  affection  and  rever- 
ence. In-his  letters  he  calls  her  his  "  best  angel  "  and  his  «  soother  " 
and  "  comforter."  It  was  she  who  "infused  composure  into  his  hot 
blood,"  directed  his  wandering  course  and  gave  him  rest ;  and  in  the 
same  poem  '  that  expresses  this  thought,  he  speaks  of  her  relation  to 
him  in  some  former  existence  as  his  "  sister."  Thus,  as  Orestes 
found  help  and  rescue  and  joy  in  Iphigenia's  arms,  so,  like  a  mission 
of  peace,  Frau  von  Stein  came  into  Goethe's  life,  taught  him  the 
lesson  of  self-renunciation,  and  became  the  inspiration  of  much  of 
his  best  work.  In  S)ie  ©efdjttrifter,  in  Slpenor  and  in  Xaffo,  as  well 
as  in  the  character  of  Natalie  in  SStlfyelm  SJZeifter,  her  influence  is 
vital,  and  in  ^ptjigenie  Goethe  regarded  the  relation  cf  the  heroine 
to  Orestes  as  typical  of  his  own  relation  to  Frau  von  Stein. 

Various  bits  of  external  evidence  go  to  show  that  this  was  the 
case.  Tischbein,  one  of  Goethe's  artist  friends  at  Rome,  made 
several  sketches  illustrating  the  recognition  scene  in  the  drama,  one 
of  which  he  gave  to  Frederika  Brun,  because  she  saw  that  the  figure 
ot  Orestes  was  almost  a  portrait2  of  Goethe.  The  poet  had  read  the 
3pf)tgeme  to  Tischbein,  and  one  of  his  letters3  expresses  astonish- 
ment at  the  unusual  and  original  way  in  which  the  artist  viewed 
the  piece  and  set  forth  the  circumstances  of  its  composition,  and 
especially  at  his  clear  perception  of  the  human  element  under  the 
heroic  mask.  In  a  note  on  this,  Erich  Schmidt  remarks  4  that  that 
sets  Goethe's  seal  on  the  idea  that  he  was  himself  the  model  for 
Orestes.  Especially  interesting  too,  as  almost  direct  admission  of 
the  influence  of  Frau  von  Stein,  is  a  passage  in  a  letter  to  her  on  the 
day  that  the  manuscript  was  sent  to  Weimar,  "  O  that  you  may 
feel,"  he  wrote,5  "  how  many  thoughts  have  gone  back  and  forth  to 


i  Wk.  4:  97.          *  Ci.  ©O€tb.e53ab,rbu$,  9:  222.          »  281.  IV.  Slbtb,.  8;  94. 
1  S^rtften  ber  ffloetb.e»0efeafc&.aft,  2  :  413.          «  mi.  III.  flbtb,.  8:  132. 


xxvj  INTRODUCTION. 

you  till  the  piece  stood  thus."  Finally  among  the  references  made 
to  the  drama  by  the  poet  in  his  old  age  is  an  allusion '  to  the  days 
when  he  felt  it  all,  and  his  statement 2  that  it  affords  only  a  dim 
reflection  of  the  life  that  stirred  within  him  at  the  time  of  its  com- 
position. 

But  the  drama  is  more  than  the  embodiment  of  Goethe's  relation 
to  Frau  von  Stein  and  of  his  achievement  of  spiritual  composure 
through  her  influence.  It  is  broader  than  any  personal  relationship. 
In  his  later  years,  Goethe  himself  in  the  little  poem  to  the  actor 
Krliger  summed  up  its  import  in  the  lines, 

8  "  For  each  human  fault  and  failure 
Pure  humanity  atones," 

and  this  perhaps  is  the  most  adequate  characterization  of  the  work. 
The  subject  has  been  much  and  variously  discussed.  Wieland 
called4  the  drama  an  ancient  Greek  piece,  while  Schiller  regarded5 
it  as  astonishingly  non-Greek  and  modern ;  more  recent  critics  have 
been  equally  divided  in  their  opinions.  But  such  difference  de- 
pends, in  each  case,  upon  the  standpoint  of  the  individual  critic. 
The  conscious  imitation  of  Greek  tragedy  in  its  literary  form  and  its 
diction,  as  well  as  its  subject-matter,  make  Wieland's  opinion  plau- 
sible. On  the  other  hand,  the  essentially  modern  and  psychological, 
not  to  say  Christian,  solution  of  the  dramatic  conflict  is  in  such 
sharp  contrast  with  the  purely  external  solution,  that  characterizes 
the  Greek  tragedies  dealing  with  similar  problems,  and  especially 
with  the  deus  ex  machina  of  its  Greek  counterpart,  that  Schiller's 
opinion  does  not  seem  unfounded. 

In  point  of  fact,  however,  the  work  should  be  viewed  neither  from 
the  Greek  nor  from  the  modern  standpoint,  but  from  that  of  the 
Renaissance.  As  Hettner  points  out,  the  drama  realizes  that  blend- 
ing of  the  classical  and  the  modern  that  was  the  ideal  of  that  move- 

1  SBriefioe^fel  jro.  ©oetlje  unb  gelter,  4 :  287.          2  Eckermann,  ©efprttdje,  3 :  95. 
s  ,,9lHe  menf$Ii$e  <3ebre$en 

SU^net  reine  2Renf$li$teit,"  Wk.  4 :  277. 
*  SKerfur,  Sept.  1787.    Cited  by  Hettner.          «  Sriefroerfjfel  tnit  Corner. 


INTRODUCTION.  XXvii 

ment,  or  as  a  more  recent  critic  puts  the  same  idea,  the  work  is  hu- 
mane in  the  sense  in  which  the  Humanists  first  used  the  word.  Like 
Lessing's  9?atf)an  ber  SSeife,  its  ideals  are  not  those  of  Greece  or  of 
Germany,  or  of  any  nationality  or  time,  but  rather  the  realization  of 
the  highest  and  noblest  aspirations  of  mankind  in  all  lands  and 
tongues,  and  as  such  it  deserves  a  place  among  those  few  chosen 
works  that  make  up  the  poetic  heritage  of  all  ages. 

THE   METER. 

Some  consideration  of  the  meter  of  the  drama  is  interesting,  partly 
because  its  use  of  iambic  pentameter  is  one  of  the  first  instances  of 
the  employment  in  a  German  masterpiece  of  what  has  since  become 
the  standard  measure  in  dramatic  poetry,  partly  because  of  the  diffi- 
culty it  occasioned  the  poet. 

Before  1765  iambic  pentameter  as  used  by  Gleim,  Klopstock  and 
Weisse,  under  English  influence,  seemed  about  to  become  the  stand- 
ard tragic  verse.  Goethe  himself  seems  to  have  made  some  at- 
tempts to  use  the  measure  in  a  drama  SBalfajar,  that  he  afterward 
destroyed,  but  he  went  back  to  the  Alexandrine  verse  and  to  prose, 
and  though  Herder  appreciated  the  merits  and  advantages  of  the 
pentameter,  it  was  not  till  the  publication  of  9?atf)an  ber  SSetfe  that 
it  was  used  in  any  important  work.  That  marked  its  general  intro- 
duction. But  the  contrast  between  Lessing's  verse  and  Goethe's  is 
striking.  With  Lessing  the  unit  is  rather  the  sentence  or  the  para- 
graph than  the  single  line.  His  verses  are  practically  without  caesu- 
ral  pause,  the  sense  of  meter  and  of  content  overleaping  each  other, 
and  both  united  only  at  the  end  of  a  passage.  Goethe's  verse,  on 
the  other  hand,  Zarncke  characterizes1  as  the  "epic-lyric  of  the 
Italian  stanza."  During  his  storm  and  stress  period  Goethe  used 
other  meters,  especially  the  doggerel  rhyme  of  Hans  Sachs,  but  with 
the  culture  and  repose  of  riper  years  he  felt  the  need  of  metrical 

»  tiber  ben  funffiifeigen  3ombu3  u.  f.  w. 


XXViii  INTRODUCTION. 

expression  better  suited  to  his  mental  temper.  This  was  especially 
the  case  with  the  gpljtgente.  As  already  mentioned,  his  study  of 
Sophocles1  Electra  and  the  advice  of  Herder  led  him  to  undertake 
the  final  revision  of  the  drama  in  its  present  form,  for  he  felt  that 
neither  prose  nor  irregular  meter  afforded  a  fitting  expression  either 
of  the  thought  or  of  the  spirit  of  the  piece. 

It  seems  at  first  remarkable  that  the  change  should  have  been  so 
difficult.  In  the  poem  gimenau,  am  3.  (September  1783,  Goethe  had 
already  written  thoroughly  good  imbiac  pentameters,  but  the  dia- 
logue involved  difficulties,  and  also  the  rules  of  prosody  were  not 
clearly  understood ;  a  fact  that,  with  Goethe's  tendency  to  seek  for 
the  informing  principle  in  any  department  of  study,  was  the  source 
of  additional  difficulty.  In  the  gtoltenifdje  9tetfe '  he  says  that  with- 
out the  aid  of  his  friend  Moritz  he  should  not  have  been  able  to 
accomplish  the  task.  Perhaps  this  may  be  an  exaggerated  state- 
ment of  the  fact,  but  still  the  aid  of  Moritz's  book,  SSerfud)  etner 
beur[cf)eit  ^rofobie,  was  undoubtedly  valuable.  While  not  clearing  up 
the  vexed  question  of  the  relation  of  quantity  and  accent,  it  made 
possible  an  adaptation  of  classical  rules  to  the  conditions  of  verse 
based  upon  accent.  Moritz  showed  that  the  same  monosyllable 
may  take  the  place  of  either  a  long  or  short  syllable  in  Latin  verse, 
according  to  its  position  with  regard  to  other  words,  not  according 
to  its  own  essential  nature.  He  further  established  a  sort  of  pre- 
cedence in  the  parts  of  speech,  by  which  a  given  word,  compared 
with  those  of  other  classes,  must  take  the  place  of  a  long  or  short 
syllable,  according  to  its  relative  position.  Thus  a  verb  receives 
more  stress,  —  takes  the  place  of  a  long  syllable  —  rather  than  an 
interjection,  and  the  latter  rather  than  an  article.  It  might  be  an 
interesting  question  to  determine  how  far  this  rule  and  how  far 
Goethe's  poetic  instinct  and  musical  ear  influenced  the  form  of  his 
verse,  but  such  is  not  the  present  purpose.  However  attained, 
the  versification  in  ^pfyigenie  ^s  second  only  in  splendor  and 

'  H.  a4:  148. 


INTRODUCTION.  XXix 

poetic  quality  to  that  in  Saffo,  and  has  never  been  surpassed  by  any 
other  German  poet.  Only  occasionally  does  it  depart  from  the  regu- 
larity of  five  iambic  feet,  though  in  the  matter  of  a  final  unaccented 
syllable  the  poet  seems  to  have  been  guided  entirely  by  convenience. 
In  the  regular  dialogue  no  rhymes  occur,  as  is  so  frequently  the  case 
in  Schiller's  later  dramas.  The  verses  that  have  six  accents  might, 
in  some  instances,  have  been  avoided,  though  the  whole  number  is 
not  large,  but  ten  in  all  (cf.  339,  593,  1010,  1037,  1118,  1244?, 
1401,  1591,  1616,  1872).  Several  lines  with  less  than  five  accents 
occur,  usually  for  the  sake  of  poetic  effect.  Several  such  instances 
are  noted  in  the  commentary  (six  lines  with  four  accents,  387, 
1055-56,  1516,  1795,  1836;  one  with  three,  689;  one  with  two, 
1053  ;  the  last  line  in  the  drama  with  one,  and  1081  with  one  and 
an  unaccented  syllable,  or  an  amphibrach.  In  1060  two  unaccented 
syllables  occur  in  the  fourth  foot,  in  1889  in  the  third,  and  in  1944 
in  the  second) .  A  verse  is  broken  in  the  dialogue  twenty-six  times, 
being  an  exception  as  compared  with  Lessing's  usage,  but  each  time 
with  good  effect  (compare  especially,  1174).  Besides  these  irregu- 
larities, other  measures  are  used  in  several  passages,  analyzed  in  each 
instance  in  the  notes. 

Of  the  language  it  is  scarely  necessary  to  speak.  The  influence 
of  the  poet's  classical  reading  upon  it  has  already  been  mentioned, 
and  numerous  instances  in  which  the  imitation  was  evidently  con- 
scious are  commented  upon  in  the  notes.  Several  similes,  carried 
out  in  the  Homeric  fashion,  occur,  but  in  general  greater  use  of  vivid 
metaphor  is  made.  Indeed  the  style  may  be  called  plastic,  and  the 
clearness  of  the  Italian  sky  and  the  greater  definiteness  of  artistic 
perception  that  the  poet  gained  in  Italy  seem  to  have  left  their  im- 
print upon  it.  As  the  drama  conforms  in  structure  to  the  strict  rules 
of  the  classic  poets,  there  is  no  attempt  to  adapt  the  dialogue  to  the 
speaker,  the  style  being  uniformly  exalted.  Its  serenity  and  com- 
posure were  a  great  disappointment  to  many  of  Goethe's  friends, 
particularly  in  Italy.  They  expected  something  more  like  @)oe{}t>0tt 
Serltdjingen .  But  the  drama  reflects  the  author,  and  the  poet  of  $$fo 


XXX  INTRODUCTION. 

genie  had  little  in  common  with  the  spirit  of  his  earlier  work.  As  a 
monument  of  his  riper  culture,  its  chaste  and  calm  beauty  is  far  from 
all  extravagance,  and,  though  in  no  sense  popular,  it  commands  the 
admiration  and  rewards  the  study  of  all  who  are  able  to  appreciate 
the  classic  in  any  department  of  art. 


auf  Cilaurte. 


S^igenie. 

£:i)oa«,  $omg  ber  Sautter. 

Oreft. 


S5tanen«  XempeL 


€rftcr  Huftrttt. 


in  cure  ©fatten,  regc  S&itofel 
3De3  alien,  fyeil'gen,  bicfytbelaubten  $atne€, 
SBie  in  ber  ©ottin  ftitteS  gieiligtfyum 
£ret'  icfy  nodE)  jetjt  mit  fcfyaubernbem  ©efuljl, 
2U§  toenn  id^)  fie  jum  erftenmal  betrate, 
Unb  e§  getuo^nt  fid^  nidfyt  mein  ©eift  ^ier^er. 
@o  mancfyeS  ^a^r  betoaF>rt  midp  ^ier  berborgen 
(Sin  ^o^er  SSitte,  bem  icfy  mid§  ergebe  ; 
2)od^  immer  bin  icfy,  toie  im  erften,  fremb. 
£)enn  a4)  micf)  trennt  ba§  SReer  toon  ben  ©eliebten, 
Unb  an  bem  Ufer  ftefy'  id^  tange  Xage 
2)ag  2anb  ber  ©ried>en  mit  ber  <Seele  fuc^enb  ; 
Unb  gegen  meine  ©eitfjer  bringt  bie  2Seffe 
•ftur  bum^fe  ^one  braufenb  mir  fyeriiber. 
SCBe^i  bem,  ber  fern  toon  ©Item  unb  ©efd^toiftern 
©in  einfam  Seben  fii^rt  !     ^m  jefyrt  ber  ©ram 
^)a§  ndd)fte  ©lud  toor  feinen  Sibben  toeg, 
^fyttt  fd^todrmen  abindrt^  immer  bie  ©ebanfen 
9^ad)  feineS  3Sater§  fatten,  too  bie  <5onne 
3uerft  ben  §immel  toor  if>m  auffc^Io^,  too 
@id9  gjlitgeborne  f^ielenb  feft  unb  fefter 
3Jlit  fanften  SSanben  an  einanber  fnubften. 


4  Spljigenie  auf  £auri«. 

3$  recite  mtt  ben  ©ottern  nic&.t;  attein 
2)er  grauen  $uftanb  if*  beHagenStoertl:). 

«5    BU  £au§  unb  in  bem  $riege  fyerrfcfyt  ber  Sftann 
Unb  in  ber  grembe  toeifj  er  ficfy  ju  fyelfen. 
2$n  freuet  ber  35eft^;  i^n  front  ber  ©ieg! 
@in  ei>renbotter  £ob  ift  t^m  bereitet. 
2Bie  engsgebunben  ift  be§  SBeibeS  ©liid  ! 

30    ©cfyon  einem  rau^en  ©atten  511  ge^ord^en, 
^ft  ^fli4>t  itnb  ^ro[t;  toie  elenb,  toenn  fie  gar 
6m  feinblidj  (Sd^idEfal  in  bie  $erne  treibt! 
@o  fyalt  mi(^>  SC^oag  ^ier,  ein  ebler  -Btann, 
^n  ernften,  ^eil'gen  <5flat>enbanben  feft. 

35    D  toie  befcfyamt  gefte^'  \<fy,  ba^  ic^)  bir 
gjiit  ftittem  2Bibertoiaen  biene,  ©ottin, 
2)ir  meiner  3fJetterin  !    3Kein  Seben  foate 
3u  freiem  SDienfte  bir  getoibmet  fein. 

tyab'  ify  ftet§  auf  bid^  gefyofft  unb  ^offe 
je^t  auf  bic^,  2)iana,  bie  bu  micf), 
$e$  gro^ten  ^onige§  fcerftofjne  ^oc^ter, 
^n  beinen  b^eil'gen  fanften  2lrm  genommen. 
^a,  Stouter  3eu§,  n>enn  bu  ben  ^o^> 
2)en  bu,  bie  ^oc^ter  forbernb,  angftigteft, 

45    9Benn  bu  ben  gottergleicfyen  2lgamemnon, 
2)er  bir  fein  2iebfte§  jum  Slltare  brad^te, 
SSon  ^roja'S  umgetoanbten  3Jiauern  ru^ml 
feinem  SSaterlanb  jurucE  begleitet, 
©attin  i^>m,  ©leltren  unb  ben  ©ofyn, 


@o  gib  aucfy  mic^  ben  3Keinen  enblicfy  toieber, 
Unb  rette  mid^,  bie  bu  bom  £ob  errettet, 
2ludfj  bon  bem  2eben  ^ier,  bem  jtoeiten  3Tobe! 


(Srfier  Slufjug.    3roeiter  luftritt. 


3  p  I)  i  genie. 


£>er  $onig  fenbet  rnify  ^ter^er  unb  beut 
55    £>er  Spdefterin  2)ianen§  ©rujj  unb  £eil. 

ift  ber  Stag,  ba  £aurt§  feiner  ©otttn 
tuunberbare  neue  (Siege  banlt. 
eile  toor  bem  $onig  unb  bem  §eer, 
melben,  ba^  er  !ommt  unb  bajj  e^  naf»t. 


60    28ir  finb  bereit  fie  n)iirbig  ju  em^fangen, 
Unb  unfre  ©ottin  fiefyt  tuittfommnem  D^fer 
mit  ©nabenblicf  entgegen. 


D  ftinb'  id^>  auc^  ben  33licf  ber  ^riefterin, 
2)er  toert^en,  toielgeefyrten,  beinen  Slicf, 

65    D,  fyeil'ge  ^ungfrau,  Better,  Ieudf)tenber, 
Un§  aUen  gute§  3e^en!     %lofy  bebetft 
£)er  ©ram  ge^eimniStiott  bein  ^nner[te§; 
33erge6en3  Barren  h)ir  fc^on  ^af>re  lang 
Sluf  ein  bertraulid^  2Bort  au§  beiner  33ruft. 

70    @o  lang  icfy  bid^  an  biefer  ©tatte  fenne, 

3ft  bie^  ber  Slice,  t>or  bem  \<fy  immer  fcfyaubre; 
Unb  h)ie  mit  ©tfenbanben  bleibt  bie  (Seele 
3n'§  ^nnerfte  be§  SufenS  bir  gefc^miebet. 


ie'§  ber  SSertriebnen,  ber  SSertoaif'ten  jiemt. 


cutf 


75    ©cfyeinft  bu  bir  fyier  toertrieben  unb  toertoaif't? 

3pb,igenie. 
£ann  tm§  jum  SBaterlanb  bie  grembe  toerben? 

2lr!as. 
Unb  bir  ift  fretnb  ba§  SSaterlanb  getoorben. 


®a§  tft'§,  tuarum  mein  blutenb  §erj  nid^t 
'  ^n  erfter  ^ufl^nb,  ba  fi^>  laum  bie  <5eele 

80    3ln  Sater,  Gutter  unb  ©efd)lt)ifter  banb; 
35ie  neuen  ©cfyojjlinge,  gefettt  unb 
58om  ^u^  ber  alten  (Stdmme 
3u  bringen  ftrebten;  leiber  fafjte  ba 
©in  frember  ^Iud^>  mid;)  an  unb  trennte  mid; 

85    SSon  ben  ©eliebten,  ri^  ba§  fd;one  33anb 
3)iit  earner  $auft  entgtoei.     <Sie  toar  bai>in, 
3)er  ^ugenb  befte  greube,  ba§  ©ebetfm 
2)er  erften  ^«^e.     ©elbft  gerettet,  tear 
^d;  nur  ein  ©fatten  mir,  unb  frifd;e  Suft 

90    2)e$  2eben§  blii^t  in  mir  nid)t  lr>ieber  auf. 


2Senn  bu  bid;  fo  ungliicflid;  nennen  hriKft, 
<So  barf  id;  bid;  aud;  too^l  unbanfbar  nennen. 


^abt  ifjr  jtetg. 


grfter  «uf§ug.    3»eiter  fcuftritt. 


nicfyt  ben  reinen  2)anf, 
Um  beffentitntten  man  bie  SSofyltfyat  tfyut; 

95    3)en  frozen  Site!,  ber  ein  jufriebneS  2eben 
Unb  ein  geneigteS  $erj  bem  2Birtfye  jeigt. 
2(13  bid?  ein  tief  gefyeimnifcboHeS  ©cfyioffal 
SSor  fo  biel  3^r*n  biefem  Stem^el  brad^te, 
^am  £fyoa§  bit,  al§  einer  ©ottgegebnen, 

ioo     -JDtit  ©^rfurd^t  unb  mit  ^teigung  511  begegnen, 
Unb  biefe§  lifer  toarb  bir  ^olb  unb  freunbltdj, 
2)a§  jebem  ^remben  fonft  boU  ©raufen§  tuar, 
2BeiI  niemanb  unfer  5Rei$  bor  bir  betrat, 
2)er  an  S)ianen§  ^eil'gen  ©tufen  nicfyt, 

105    9?a$  altem  Srauc^,  ein  blutig  Dpfer,  pel. 

%  p  ^  i  g  e  n  i  e. 

^rei  airmen  macfyt  ba§  2eben  nid^t  affein. 

Seben  ift'8   ba§  an  ber  fyeil'gen  ©tatte, 
einem  ©fatten  urn  fein  eigen  ©rab, 
3$  nur  bertrauern  mu^?    Unb  nenn'  i$  ba§ 
no    @in  frofylicfy  felbftbetoufsteg  2eben,  toenn 
Unl  jeber  Xag,  bergeben^  ^ingetrdumt, 
3u  jen  en  grauen  £agen  borbereitet, 
35ie  an  bem  Ufer  2etfye'§  felbftbergeffenb, 
£>ie  2;rauerf$aar  ber  2lbgefd^iebnen  feiert? 
115    (Sin  unnii|  2eben  ift  ein  fritter  ^ob  ; 

ift  bor  aHen  meinl. 


2)en  ebeln  ©tolj,  ba^  bit  bir  felbft  nid)t  g'niigeft, 
$  bir,  fo  fe^r  id)  bi$  bebaure; 


8  ypln'genie  cwf  XouriS 

@r  rmtbet  ben  ©enufe  be§  2eben§  fcir, 

120    3)u  fyaft  fyier  nicfyts  getfyan  feit  beiner  2lnftmfi:: 
SSer  fyat  be3  $onig§  triiben  ©inn  erfyeitert? 
2Ber  fyat  ben  alien  graufamen  ©ebraucfy, 
3)a^  am  3lltar  2)ianeng  jeber  grembe 
©etn  Seben  blutenb  Ici^t,  bon  ^a^t  §u  ^afe^ 

125    3Jiit  fanfter  tiberrebung  aufge^alten, 
Unb  bie  ©efangnen  bom  gennffen  ^ob 
^n'§  SSaterlanb  fo  oft  juriirfgefc^tcf  t  ? 
§at  nid^t  35iane,  ftatt  erjiirnt  ju  fein, 
£)ajj  fie  ber  blut'gen  alien  Dbfer  mangelt, 

130    ®ein  fanft  ©ebet  in  reicfyem  3«ap  erljort? 
Hmfcfytoebt  mit  fro^em  ^luge  ntd)t  ber  <£ieg 
2)a§  §eer?  unb  eilt  er  nicfyt  fogar  borau§? 
Unb  fufylt  nid^t  jeglic^er  ein  beffer  2oo§, 
(Seitbem  ber  ^bnig,  ber  un§  toeif  unb  tabfer 

135    <5o  long  gefii^ret,  nun  firf>  aud^  ber  9JiiIbe 
^n  beiner  ©egentoart  erfreut  unb  un§ 
SDe§  ftt;toeigenben  ©el)orfamg  ^flid^t  erleid^tert? 
£)a3  nennft  bu  unnii^,  toenn  toon  beinem  SSefen 
3luf  2;aufenbe  ^erab  ein  Salfam  traufelt? 

140    SBenn  bu  bem  33olfe,  bem  ein  ©ott  bid;)  bracfyte, 
2)eg  neuen  ©lurfeS  etc'ge  Dueffe  toirft, 
Unb  an  bem  untoirtfybaren  ^obeg^Ufer 
$em  gremben  §eil  unb  9iuc!fei)r  jubereiteft? 


3)ag  SBenige  berfc^)h)inbet  leid^t  bem  Slicf, 
145    2)er  borhmrtS  fief>t,  h)ie  btel  nod)  iibrig  bleibt. 


lobft  bu  ben,  ber  toa§  er  tfyut  nid^t 


grfter  SUifsug.    3«eiter  Sluftritt. 


tabelt  ben,  ber  feine  SEfyaten  ftmgt. 

SlrfaS. 

ben,  ber  toafyren  2Bertfy  ju  ftolj  nicfyt  acfytet, 
2Bie  ben,  ber  fallen  2Bertfy  ju  eitel  fyebt. 
150    ©laub'  mir  unb  fyor'  auf  eine§  9Kanne§  2Bort7 
2)er  treu  unb  rebltcfy  bir  ergeben  tft  : 
2Benn  ^eut  ber  $onig  mtt  bir  rebet,  fo 
Srleid;tr'  if)m  h)a§  er  bir  ju  fagen  benft. 


. 

2)u  angfteft  mid^  mit  jebem  guten  -JBorte  ; 
155    Dft  toic()  i^>  feinem  Slntrag  miii)fam  au§. 


Sebenle  toa§  bit  ti>uft  unb  toa§  bir  nii|t. 
©eitbem  ber  $onig  feinen  <5oi>n  berloren, 
SSertraut  er  tuenigen  ber  (Seinen  tnefyr, 
Unb  biefen  tuenigen  nid^t  mefyr  h)ie  fonft. 

160    3Jii^gunftig  fiefyt  er  jebeg  @beln  @oi>n 
2113  feine§  ^eicf)e§  golger  an,  er  fiircfytet 
©in  einfam  f)iilflo§  2llter,  ]a  bietteid^t 
58ertoegnen  Slufftanb  unb  friifyjeit'gen  ^ob. 
2)er  @c^ti)e  fetjt  in'§  Sfteben  feinen  SBorjug, 

165    2lm  toenigften  ber  ^onig.     @r,  ber  nur 
©etoo^nt  ift  ju  befel)len  unb  ju  fyun, 
$ennt  niif)t  bie  5lunft,  toon  toeitem  ein  ©ef!prdd^ 
feiner  2lbficf)t  langfam  fein  ju  lenfen. 

iE>m  niii)t  burd)  ein  ritcEfyaltenb  2Beigern, 

170    ^Durd^  ein  borfe^Iirf)  SJli^berfte^en.    ©e^> 
©efattig  ii>m  ben  fyalben  2Beg  entgegen. 


10  3pl)tgenie  auf 


©ott  io*>  befc^leunigen  toa§  mid}  bebrotyt? 

SCrfaS. 
2BiHft  bu  fein  SBerben  eine  SDrofyung  nennen? 

Stofyi  genie. 
63  tft  bie  fcfyrerflicfyfte  bon  affen  mir. 

SCfiat. 
175    ©ib  t^m  fiir  feine  9ieigung  nitr  Sertraun. 


SBenn  er  bon  gurd()t  erft  meine  ©eele  loft. 

Krfa*. 

2Barum  berfd^toeigft  bu  beine  ^erfunft  i^m? 


g  e  n  e. 
SBeil  etner  ^rieftertn  ©e^etmnt^  jtetnt. 


ig  foffte  nicfytS  ©ef)eimm|  fein; 
180    Unb  ob  er'^  gleic^  nid^t  forbert,  fiifylt  er'§  b 
Unb  fiif)lt  el  tief  in  feiner  gro^en  ©eele, 
3)a^  bu  forgfaltig  bic^)  bor  i^m  bertua^rft. 

S^)^i  genie. 
9tctf)rt  er  SSerbru^  unb  Unmuti>  gegen  mirf>? 


@o  fd^eint  e§  faft.    3^^  fdptoeigt  er  aud)  bon  bir; 
185    25o^>  fyaben  ^ingetoorfne  2Borte  mid? 

SBele^rt,  bafj  feine  ©eele  feft  ben  2Btinf$ 
©rgriffen  ^at  bid?  ju  beft^en.    2a^, 


Srfter  Stufeug.    3n>eiter  Sluftritt.  11 

D  uberlafj  ifyn  nicfyt  fid}  felbft!  bamit 
$n  feinem  Sufen  nicfyt  ber  ttntnutfy  reifc 
190    Unb  bir  ©ntfe^en  bringe,  bu  ju  fpat 

2ln  tneinen  treuen  ^atfy  mit  9leue  benfeft. 


2Bie?    ©innt  ber  ^onig,  luaS  fein  ebler  SJiann, 
2)er  jetnen  ^atnen  liebt  unb  bem  3Seref>rung 
SDer  ^tTnmlifd^en  ben  Sufen  banbtget, 

195    ^e  ben!en  foHte?    ©innt  er  bom  2Htar 
W\d)  in  fein  Sctte  mit  ©etoalt  ju  jie^n? 
(So  ruf  id?  atte  ©otter  itnb  bor  atten 
35ianen,  bie  entfd^Ioff'ne  ©ottin,  an, 
2)ie  ifyren  <S<f)ii^  ber  ^}riefterin  getoi^ 

200    Unb  ^ungfrait  einer  ^ungfrau  gern  getoafyrt. 


@ei  ru^ig  !     (Sin  getoaltfam  neite§  33Iut 
Streibt  nic^t  ben  ^onig,  fold^e  ^iinglingStfyat 
Sertoegen  au§juiiben.    2Bie  er  finnt, 
33efurc^t'  id^  anbern  f>arten  ©cfylujj  bon  tym, 
205    ®en  unauffyaltbar  er  bottenben  toirb  : 
£>enn  feine  (Seel'  ift  feft  unb  unbetoeglicfy. 
2)rum  bitt'  \fy  bicfy,  bertrau'  i^m,  fei  ifym  banfbar, 
SSenn  bu  il>m  toeiter  nicf)t§  gen)df)ren  fannft. 

3  to  fyi  genie. 
D  fage  h)a^  bir  toeiter  noc^  befannt  ift. 

Xr!a*. 

«io    @rfa^>r'§  bon  i^m.    ^c^  fe^)'  ben  ^onig  !ommen; 
S)u  e^rft  i^n,  unb  bid?  ^ei^t  bein  eigen  §erj, 
^^m  freunblicfy  unb  bertraulid?  ju  begegnen. 


12  3pf)igenie  auf  £auri«. 

@in  ebler  SJtann  h)irb  burdl)  ein  gitteS  SBort 
3)er  $rauen  toeit  gefiifyrt. 


(atlein). 
gtoar  feb,'  id}  nicfyt, 

215    2Bte  icfe,  bem  9tat^  be§  3:reuen  folgen  fott; 
%)od)  folg'  tc^)  gern  ber  $fli$t,  bem  ^onige 
$iir  feine  2Bo^)It^at  guteS  2Bort  ju  geben, 
Unb  tDiinfd^e  mir,  bajj  td^  bem  SJtad^tigen, 
ifym  gefaHt,  mit  2Ba^r^ett  fagen  moge. 


Dritter  2tuftritt. 


ene. 

220    gjiit  fonigUcfyen  ©iitern  fegne  bid^ 
2)ie  ©ottin!     @ie  getoa^re  ©ieg  unb 
Unb  9leic§ti>um  unb  ba§  SBo^I  ber  2)einigen 
Unb  jebe§  fromnten  2Bunfd)e§  ^iitte  bit  ! 
3)0$,  ber  bu  iiber  biele  forgenb  ^errfdfieft, 

225    ®u  auc^  toor  totelen  feltneg  ©liic!  genie^eft. 


3ufrieben  tear'  id;>    toenn  tnein  SSoII  mid9  ru^mte 
2Ba§  icfy  ertoarb,  gente^en  anbre  me^r 
3118  icb,.    ®er  ift  am  glucflicfyften,  er  fei 
@in  ^onig  ober  ein  ©eringer,  bem 
23°    3>n  feinem  §aufe  SSob,!  bereitet  ift. 

S)u  nab,meft  ^^eil  an  meinen  iiefen  ©d^merjen, 
2112  mir  ba§  6d^toert  ber  geinbe  meinen  (Soljn, 


(Srfter  Slufjug.    fritter  Suftritt.  13 

2)  en  letjten,  beften,  toon  ber  <5eite  rifj. 

<So  lang  bie  9tad;e  meinen  ©eift  befafj, 
235    ©mpfanb  id;  nid)t  bte  Dbe  meiner  28ol)nung; 

2)od)  jefct,  ba  id)  befriebtgt  toieberfe^re, 

^f>r  9tetd^  jer[tbrt,  metn  <So^n  gerod)en  tft, 

Sletbt  mtr  ju  §aufe  nid;t§  ba§  mid)  erge^e. 

2)er  frij^lid^e  ©efyorfam,  ben  id)  fonft 
240    9lu§  einem  jeben  3luge  blid5en  fafy, 

3ft  nun  toon  ©org'  unb  Unmut^  ftitt  gebdm^ft. 

@in  jeber  finnt  toa§  funftig  trerben  toirb, 

Unb  folgt  bem  ^inberlofen,  toeil  er  mu^. 

9iun  lomm'  id)  fyeut  in  biefen  Stem^el,  ben 
245    3$  oft  betrat,  um  <Sieg  jit  bitten  unb 

$iir  <Sieg  ju  banfen.    @inen  alien  2Bunfd) 
'  id;  im  33ufen,  ber  aud)  bir  nid)t  fremb 
unertoartet  tft:  id)  fyoffe,  bid;, 

3um  (Segen  tneine§  23olf§  unb  mir  jum  <3egen, 
250    21I§  33raut  in  meine  2Bol)nung  einjufii^ren. 


2)er  Unbelannten  bieteft  bu  ju  toiel, 
D  $onig,  an.     ©§  ftei)t  bie  gliid)tige 
§Befd)amt  bor  bir,  bte  nid)t§  an  biefem  Ufer 
unb  9lu^e  fud;t,  bie  bu  ifyr  gabft. 


255    2)af$  bu  in  ba§  ©e^eimni^  beiner  Slnlunft 
SSor  mir  toie  bor  bem  Se^ten  ftet§  bid;  fyittteft, 
2Bar'  unter  feinem  3SoI!e  red;t  unb  gut. 
®ie^  Ufer  fd)rerft  bie  gremben  :  ba§  ©efe^ 
©ebietet'S  unb  bie  3^ot^.    2lIIein  bon  bir, 
frommen  3fted;t^  genie^t,  etn 


14  3^tgeme  auf  £auri8. 

58on  ung  embfangner  ©aft,  nad?  eignem  ©inn 
Unb  2BiHen  ifyreg  Staged  fid)  erfreut, 
SSon  bir  i>offt'  id)  Sertrauen,  bag  ber  SBirt^ 
ftiir  feine  2:reue  tbobl  ertbarten  barf. 


265    25erbarg  i^  meiner  ©Item  3fiamen  unb 
3Kcin  £au§,  o  ^onig,  toar'S  SBerlegen^ett, 
SRidjt  ^Jii^traun.    5Denn  bieUei^t,  ad^  toiifeteft  bu 
233er  toor  bir  ftefyt,  unb  toeld^  berlrunfd^teg 
$11  ntifyrft  unb  fc^u|eft,  ein  @ntfe$en  fa^te 

270    3)cin  gropes  $erj  mtt  feltnem  S^auer  an, 
Unb  ftatt  bie  ©eite  beine§  £fyrone§  mir 
3u  bteten,  triebeft  bu  mid)  bor  ber  3eit 
2lu§  beinem  9let(^e;  ftie^eft  mid^  bieUeicfyi, 
@^>'  ju  ben  3)ieinen  frofye  9tiid!fe^r  mir 

275    Unb  meiner  SBanbrung  @nbe  jugebad^t  ift, 
Sent  @Ienb  ju,  ba§  jeben  ©cfyhmfenben, 
3Son  feinem  §au§  SSertriebnen  iiberatt 
SJiit  falter  frember  ©d^recfeng^anb  ertoartet. 


2Ba§  aud?  ber  ftatlj  ber  ©otter  mit  bir  fei, 
280    Unb  toa§  fie  beinem  §au§  unb  bir  gebenfen; 
©o  fefylt  e§  bod?,  feitbem  bu  bei  un§  h)ob,nft 
Unb  eine§  frommen  ©afte§  3fied)t  genie^eft, 
Sin  ©egen  nicfyt,  ber  mir  bon  oben  lommt. 
^d?  mod^te  fdjtoer  ju  uberreben  fein, 
285    S)afj  id)  an  bir  ein  fdjwlbbotf  §aubt  befd^u^e. 


2)ir  bringt  bie  2Bob,It^at  ©egen,  nid?t  ber  ©aft. 


Srfier  2luf$ug.    fritter  Stuftritt.  15 

£  ty  o  a  §. 

man  33errucfyten  tljut  toirb  ntcfyt  gefegnet. 
2)rum  enbige  bein  (Sdjweigen  unb  bein  SBeigern; 
(£§  forbert  biejj  fein  ungerecfyter  2Jtann. 
290    !£>te  ©ottin  iibergab  bid^  metnen  §dnben; 
2Bie  bu  i^r  fyetlig  toarft,  fo  toarft  bu'g  mir. 
ei  i^r  2Bin!  nocfy  fiinftig  mein  ©efe|: 
bu  nacfy  §aufe  9lud!e^r  ^offen  fannft, 
@o  fprec^)'  id^  bid()  toon  atter  ^orbrung  Io§. 
395    2)odj  ift  ber  SBeg  auf  ehrig  bir  toerf^errt, 
Unb  ift  bein  ©tamm  bertrieben,  ober  burc^ 
@in  unge^eure^  Unveil  au§gelofd9t, 
@o  bift  bu  mein  burcfy  me^r  al§  (Sin  ©efe^. 
@^rid^  offen!  unb  bu  toeijjt,  id§  ^>alte  2Bort. 

%$  \}i  genie. 
300    3Som  alien  SBanbe  lofet  ungern  ficfy 

^°^/  e^n  Ifln9  berfdf)h)iegene§ 
enblid^  ju  entbecfen;  benn 
©inmal  bertraut,  berla^t  e§  o^ne  Sfludffe^r 
2)e§  tiefen  §erjen3  fid^re  9BoE>nung,  fc^abet, 
305    2Bie  e§  bie  ©otter  hjoffen,  ober  nii|t. 

3Sernimm!  id^  bin  au§  tantalus  ©efd^Ied^t. 


ein  gro^eg  2Sort  gelajfen  au§. 
5?ennft  bu  35en  beinen  ^nfyerrn,  ben  bie  2SeIt 
2118  einen  efymalS  §ocf)begnabigten 
310    ^Der  ©otter  fennt?    3ft  '8  jener 

3)en  ^u^iter  ju  3tatf>  unb  £afel  jog, 
2ln  beffen  alterfa^rnen,  bielen  ©inn 


16  3pi)igente  aitf 


33erfnityfenben  ©efyradjen  ©otter  felbft, 
2Bie  an  Drafelffcrucfyen,  fidj>  erge^ten? 


315    @r  ift  es;  aber  ©fitter  fottten  nidjt 

3Jitt  9Jtenfd£)en,  tme  mit  ifyreg  ©leicfyen,  toanbeln; 

2)a§  fterblicfye  ©efd^Iec^t  ift  bid  311  fcfytoadj 

^n  ungetoo^nter  §o^e  nid^t  511  frfjtoinbeln. 

Unebel  tear  er  ni$t  unb  fein  33errati>er; 
$20    SCttem  jum  ^nec^t  ju  gro^,  unb  jum  ©ef  ellen 

®e§  grofjen  ®onnrer0  nur  ein  3Jlenfc^.     <3o  tear 

3lud^  fein  S3erge^en  tnenfcfyUd)  ;  i^r  ©erid^t 

9Bar  ftreng,  unb  3)tcfyter  ftngen: 

Unb  Untreit'  fturjten  i^n  toon 
325    3ur  ©^ntad^  be§  alten  2iartaru§  ^)inab. 

2ld?  unb  fein  ganj  ©efd^Ied^t  trug  if>ren 


bic  ©cfyulb  be§  Sl^n^errn  ober  eigne? 


bie  geioalt'ge  SBruft  unb  ber  ^ttancn 

arl  tear  feiner  @o^n'  unb  @nlel 

330    ©etoiffeS  @rbtt>eil;  bod?  eg  fd^miebete 
2)er  ©ott  um  tfyre  ©tirn  ein  el>ern  SBanb. 
Sftatfy,  5Jia^igung  unb  SSei^^eit  unb  ©ebulb 
SSerbarg  er  i^rent  fd^euen  biiftern  Slidf; 
3ur  3Sut^>  toarb  tfynen  jeglid^e  Segier, 

335    Unb  granjenloS  brang  i^re  2But^  umljer. 
©cfyon  ^elopg,  ber  ©etoaltig^toottenbe, 
®e§  £antalu§  geltebter  @o^n,  ertoarb 
©id?  burcfy  SSerrat^  unb  3Jtorb  ba§  fcfyonfte 


(Srfter  aufjitg.    2)ritter  litftritt.  17 


Grjeugte,  ^tppobamien. 

540    @ie  bringt  ben  SBiinfcfyen  be3  ©emails  jtoei  ©ofyne, 
Sf^eft  unb  2ltreu§.    9leibif$  fefyen  ftc 
£>e§  23ater§  £iebe  ju  bem  erften  @oE>n 
2lu3  einem  anbern  33ette  toacfifenb  an. 
2)er  ^a^  berbinbet  fie,  unb  fyetmltcfy  toagt 

345    2)a§  ^Saar  im  33rubermorb  bte  erfte  !£fyat. 
25er  33ater  tod^net  ^i^obamien 
2)te  !Diorberin,  unb  grimmig  forbert  er 
SSon  t^r  ben  <Soi>n  juriicf,  unb  fie  entleibt 
@ic^  felbft- 


2)u  fd^toeigeft?    ^aljre  fort  ju  reben! 
350    £afj  bein  SSertraun  bic^  nid^t  gereuen!     (Spricfy! 


bem,  ber  feiner  $8ater  gern  gebenlt, 
25er  fro^  toon  i^ren  ^aten,  ifyrer  ©ro^e 
2)en  §5rer  unteri)dlt,  unb  ftitt  fid^  freuenb 
3ln'§  @nbe  biefer  fc^onen  3tei^e  fid? 

355    ©efdj>Ioffen  fie^t!    35enn  e§  erjeugt  nid^t 
@in  §au§  ben  ^albgott  nod^  ba§  Unge^euer; 
@rft  eine  9lei^e"  Sofer  ober  ©uter 
Sringt  enblid?  ba^  ©ntfe^en,  bringt  bie  $reube 
S)er  2BeIt  Berber.  —  5^ad?  i^re«  3Sater^  £obe 

360    ©ebieten  2ltreu§  unb  Utyjeft  ber  ©tabt, 
©enteinfam={>errfd9enb.     Sange  lonnte  nid^t 
2)ie  (Sintrad^t  bauern.    33alb  ente^rt  ^T^eft 
2)e§  SruberS  Sette.    Sftdc^enb  treibet  2Itreu§ 
%fyn  au§  bem  3teid^e.    2:iid:ifd9  ^atte  fcfyon 

365    SC^eft,  auf  f4>ioere  3;f>aten  finnenb,  lange 


®em  Sruber  einen  ©oljm  enitoanbt  unb  Ijeimlic^ 
3$n  alS  ben  feinen  fdj>meidE>eInb  auferjogen. 
3)em  fitttet  er  bie  Sruft  tntt  2Butfy  unb  3fta<f>e 
Unb  fenbet  ifyn  jur  $onig§ftabt,  bajj  er 

370    3m  Dfyeim  feinen  eignen  3Sater  morbe. 

£)e§  3iingling§  SSorfa^  icirb  entbecft:  ber  $6mg 
©traft  graufam  ben  gefanbten  SKorber,  tod^nenb, 
@r  tobte  femes  SruberS  @o^n.     3U  fr^t 
©rfafyrt  er,  toer  bor  feinen  trunfnen  Slugen 

375    ©emartert  ftirbt;  unb  bie  Segier  ber  9tarf>e 
2lii3  feiner  33ruft  ju  tilgen,  finnt  er  ftiff 
2luf  uneri>orte  2tyat.    @r  fd^eint  gelaffen, 
©leid^giiltig  unb  berfo^nt,  unb  lodft  ben  Sruber 
3Kit  feinen  beiben  (So^nen  in  ba§  9teid^ 

380    3uriii,  ergreift  bie  $naben,  fd^Iad;tet  fte, 
Unb  fefct  bie  elle  f^auberbotte  @^eife 
2)em  Soter  bei  bem  erften  ^Jlafyle  bor. 
Unb  ba  !£fytyeft  an  feinem  ^leifc^e  fic^> 
©efattigt,  eine  SBe^mut^  i^n  ergreift, 

385    @r  na^  ben  ^inbern  fragt,  ben  ^ritt,  bie  ©timme 
&er  ^naben  an  be§  @aale§  2$iire  fc^on 
3u  ^)6ren  glaubt,  toirft  2ltreu§  grinfenb 
%fym  §aubt  unb  $itfje  ber  ©rf^Iagnen  ^in.  — 
i)u  toenbeft  frf>aubernb  bein  ©efirf)t,  o  ^onig: 

390    @o  toenbete  bie  (Sonn'  \fa  3lntli^  toeg 
Unb  i^ren  SBagen  au§  bem  etog'en  ©leife. 
3)ie^  finb  bie  Slfynfyerrn  beiner  ^Briefterin; 
Unb  iriel  unfeligeg  ©efd^irf  ber  banner, 
SSiel  a^aten  be§  bertoorrnen  (Sinned  becft 

395    35ie  Slac^t  mit  fcfytoeren  gittigea  unb  la^t 
Un«  nur  bie  grauenboHe  S)ammrung  fe^n. 


(Srftcrr  Stufjug.    fritter  Hitftrttt.  19 


Serbirg  fie  fcfytoeigenb  aud).     @3  fei  genug 

3)er  ©ra'uel  !     ©age  nun,  burcr;  ioelcfy  em  SBunbet 

SSon  biefetn  toilben  ©tamnte  bu  entfyrangft. 

^tofyigenie. 

400    $e§  SltreuS  alt'fter  ©oljin  toar  2lgamemnon: 
@r  ift  ntein  SSater.     2)0$  id)  barf  e§  fagen, 
$n  i{>m  i>ab'  t^>  feit  metner  erften  $t\t 
(Sin  3Jiufter  be§  toottfotnmnen  3Jiann§  gefe^n. 
3^m  bracfyte  ^I^tdmneftra  mi$,  ben  @rftling 

405    SDer  Siebe,  bann  @Ie!tren.     Sftufyig  F>errf$te 
3)er  ^ontg,  unb  e§  h)ar  bem  §aufe  StantalS 
SDie  lang  entbef>rte  JRaft  getoa^rt.    2lffein 
6§  mangelte  bem  ©liicf  ber  ©Item  nod? 
©in  <3o^n,  unb  laum  tear  biefer  SBunfdj)  erfiiHt, 

410    2)a^  jtoif^en  beiben  (Sdjtoeftern  nun  Dreft 
2)er  Siebling  Uni$3,  al§  neueg  libel  fd^on 
2)em  fi$ern  §aufe  jubereitet  tear. 
3)er  9tuf  be§  ^riege§  ift  311  eudj  gefommen, 
2)er,  um  ben  9faub  ber  fd^onften  ^rau  ju  rad^en, 

415    S)ie  ganje  Sftacfyt  ber  5Mten  ©ried^enlanbg 
Um  £ro]en3  5Rauern  lagerte.    Db  fie 
$)ie  ©tabt  getoonnen,  if>rer  ^Rac^e  3iel 
@rreicr;t,  berna^m  icr)  nicr)t.    SRein  SSater  fii^rte 
'iDer  ©ried^en  §eer.    3n  2luli§  ^arrten  jte 

420    2luf  gunft'gen  9Binb  bergebenl:  benn  2)iane, 
©rjiirnt  auf  i^ren  grojjen  ^ii^rer,  ^ielt 
Die  ©ilenben  juriic!  unb  forberte 
3)ur$  ^al$a§  3Jhmb  be§  ^onig§  dlt'fte 
@ie  looften  mit  ber  Gutter  mid?  in'3  2ager; 


20  3pl)igeme  ouf  £aurtS. 

425    @ie  riffen  mia)  bor  ben  2lltar  unb  toeifyten 
£)er  ©ottin  biefeg  £aubt.    @ie  toar  berfolmt: 
<5ie  tbottte  nid^t  mein  SBlut  unb  Ijitttte  rettenb 
S$n  eine  2BoIfe  mid};  in  biefem  SCembel 
©rfannt  id^  mid^  juerft  bom  £obe  luteber. 

430    3^  bin  eg  felb[t,  bin 
3)e§  2ltreu3  @nlel, 
S)er  ©dttin  ©igentEjum,  bie  tnit  bir  ftmcfyt. 


SBorjug  unb  SBertrauen  geb'  t4>  nid^t 
35er  ^onigStocfyter  al§  ber  Unbefannten. 
435    3c&,  toieberb,ole  nteinen  erften  2lntrag: 

folge  mir,  unb  tb,eile  toa§  icf>  ^abe. 


9Bie  barf  idfj  fold^en  ©d^ritt,  o  ^onig,  tuagen? 
§at  nic^t  bie  ©ottin,  bie  mid^  rettete, 
3Wein  bag  9te$t  auf  mein  getoei^teg  Seben? 

440    ©ie  b,at  fur  mid)  ben  <Sd)u|ort  auggefud)t, 
Unb  fie  betoafyrt  mid^  einem  3Sater,  ben 
<3ie  burd^)  ben  <Sdt>ein  genug  geftraft,  bietteid^t 
3ur  fd^onften  $reube  feineg  Sllterg  ^ier. 
SSieHeid^t  ift  mir  bie  frofye  9tU(fle^r  nab,; 

445    Unb  tcfy,  auf  ifyren  2Beg  nifyt  ad^tenb,  b,atte 
•Bticb,  ioiber  ib,ren  2Biffen  ^ier  gefeffelt? 

bleiben  fottte. 


/  ^a^  ^u  nD$  ^ier  bertweilft. 
Slugfluct  folder  2lrt  nid^t  angftlid?  auf. 
450    3Jlan  fbrid^t  bergebeng  biel,  um  $u  berfagen; 
^er  anbre  fyort  bon  attem  nur  bag  9Mn. 


grfter  Hufjug.    fritter  Sluftritt.  21 

3bb,igenie. 

2Borte  finb  e§,   bie  nur  blenben  foflen; 

%<fy  fyabe  bir  mem  tieffteS  §erj  entbecft. 

Unb  fagft  bu  bir  nicfyt  felbft,  toie  \$  bem  $ater, 
455    SDer  Gutter,  ben  ®efcb,toiftern  mi4)  entgegen 

3Rit  angftltd^en  ©efitljlen  fe^nen  mu^? 

3)a^  in  ben  alien  fatten,  too  bie  trailer 

9io4>  mand^mal  ftitte  nteinen  9iamen  lif^elt, 

2)ie  ^reube,  toie  urn  eine  ^Jeugeborne, 
460    3!5en  fcfyonften  ^rang  toon  @auP  an  ©aulen  fd^linge. 

D  fenbeteft  bu  mid)  auf  (Stiffen  ^in! 

2)u  gabeft  mir  unb  aUen  neue§  Seben. 


2$u'  It>a0  bein  §erj  bid?  ^ei^t, 
Unb  bore  nicb,t  bie  ©timme  guten  9tatb,§ 

465    Unb  ber  SSernunft.     @ei  ganj  ein  2Beib  unb  gib 
35id9  f)in  bem  ^riebe,  ber  bic^  jiigetto^ 
Csrgreift  unb  bab,in  ober  bort^tn  reifit. 
2Benn  ib,nen  eine  Suft  im  Sufen  brennt, 
§alt  bom  23erratb,er  jte  fein  b,eilig  S3anb, 

470    S)er  fie  bem  SSater  ober  bem  ©emab,l 
2lu§  langbetoafjrten,  treuen  2(rmen  locft; 
Unb  fcf)toeigt  in  ib,rer  Srujt  bie  rafdr>e  ©littb,, 
<So  bringt  auf  fie  bergebenS  treu  unb  mad^tig 
2)er  llberrebung  golbne  3«"S^  Io8. 

3  b  b,i  genie. 

475    ©eben!',  o  ^onig,  beine§  ebeln  SSorte^! 
SSiUft  bu  mein  3utraun  f°  ertoiebern?    2)u 
©d^ienft  borbereitet  aUe§  ju  bernefymen. 


22  Spfjigenie  cuif  XaurtS. 

£1)0  a  3. 

2luf'3  Ungefyoffte  tear  id}  nicfyt  oereitet; 
!Docb,  foHt'  id?  '3  aucb,  eriuarten:  itwjjt'  id)  nidjrt, 
480    3)ajj  id?  mit  einem  2Betbe  fyanbeln  ging? 

^  ^i  genie. 

©dbtlt  nic^t,  o  ^onig,  unfer  arm 

•fticfyt  ^errlid^  trie  bie  euern,  aber 

Unebel  finb  bie  2Baffen  eine§ 

©laub'  e§,  barin  bin  icb,  bir 
485    2)aj5  \&i  bein  ©ItidE  mefyr  al§  bu  felber  lenne. 

3)u  Ipci^neft,  unbelannt  mit  bir  itnb  mir, 

@in  nab,er  33anb  toerb'  un§  gum  ©liicf  bereinen. 

SSoE  guten  gjiut^eS  tote  boa  guten  2Biaen§ 

2)ringft  bu  in  mid^  ba^  id?  mid?  fiigen  foil; 
49°    Unb  F)ier  ban!'  icb,  ben  ©ottern,  ba^  fie  mir 

2)ie  ^eftigfeit  gegeben,  biefe§  Sunbnijj 
ba§  fie  nicfyt  gebittigt. 


@§  fbrid^t  !ein  ©ott;  e§  fbric^t  bein  eigneS  §erj. 

^  b  b,  i  g  e  n  i  e. 
<Sie  reben  nur  bitrcfy  unfer  §erj  ju  un3. 


495    Unb  ^ab'  3$,  fie  ju  Ijbren,  nic^t  bag 


e. 
iiberbrauft  ber  <Sturm  bie  jarte  ©timme. 


S)ie  ^riefterin  bemimmt  fie  toobj  attein?- 


(grfter  Huftufl.    fritter  Kxftrttt. 


S5or  alien  anbern  merle  fte  ber  $urft. 


£)ein  fyeilig  Slmt  unb  bein  geerbte§  9led;t 
500    2ln  3>0&i3  £ifd;  bringt  bid)  ben  ©b'ttern  natyer, 
2H§  einen  erbgebornen  2Bilben. 


So 
'  ic^  nun  ba§  SBertraun,  ba§  bu  erjluangft. 


^d^»  bin  em  9Jlenfdf>  ;  unb  beffer  tft'S,  h)ir  enben. 

@o  bleibe  benn  metn  2Sort:  @ei  ^riefterin 
505    3)er  ©ottin,  h)ie  fie  bid)  erforen  b^at; 
mir  berjeif)'  2)iane,  baf;  id;  t^r, 
mit  Unrest  unb  mit  innerm  SSorhJurf, 

35ie  alten  D^fer  toorentfyalten  ^abe. 

^ein  ^rember  nab;et  gliidlicb;  unferm  Ufer; 
510    SScn  2llter§  l>er  ift  it>m  ber 

3f?ur  bu  ^»aft  mid;  mit  einer 

^n  ber  id)  balb  ber  jarlen  Xocfyter  Siebe, 

Salb  ftitte  ?ieigung  einer  Sraut  ju  feb^n 

9Jlid;  tief  erfreute,  toie  mit  3au&er^an^)en 
515    ©efeffelt,  ba^  id;  meiner  $flid;t  berga^. 

2)u  ^atteft  mir  bie  ©innen  eingetoiegt, 

2)a§  SJiurrm  meineS  SSoIfg  berna{>m  id;  nid;t; 

9iun  rufen  fie  bie  @d;ulb  toon  meineS  @ot>neg 

^rii^eit'gem  ^£obe  lauter  ilber  mid;. 
520    Um  beinetitnUen  b^alt'  id;  linger  nid;t 

35ie  SKenge,  bie  ba§  D^fer  bringenb  forbert. 


24  3pt)igenie  auf 


Urn  meinettoitfen  fyab  i$'§  nie  begefyrt. 
£>er  tnijjtoerftefyt  bie  £imntlif$en,  ber  fie 
33lutgierig  toafynt  ;  er  bicfytet  ifynen  nur 
525    £>ie  eignen  graufanten  Segierben  an. 

Gntgog  bie  ©btttn  mic^  nic^t  felbft  bem  ^riefter? 
3^r  toar  tnein  S)ienft  toittlommner,  al§  tnein  £ob 


6§  jiemt  ftd^  m$t  fur  un§,  ben  ^eiligen 
©ebraudj  ntit  leid^t  betoegli^er  SSernunft 

530    9iacfy  unferm  ©inn  ju  beuten  unb  gu  lenlen. 
X^u'  beine  $fli$t,  id^  h?erbe  meine  tfyun. 
^iwei  ^rembe,  bie  U)ir  in  be§  Ufer§  §o^)Ien 
SSerftedt  gefunben,  unb  bie  meinem  2anbe 
•JttcfytS  ©ute§  brtngen,  ftnb  in  meiner  ^anb. 

535    3Jiit  biefen  nefyme  beine  ©otttn  toieber 
3^  erfte§,  rentes,  lang  entbel>rte§  D^fer! 
2$  fenbe  fie  ^ier^>er;  bu  toeijjt  ben  ®ienft. 


fierier  2tuftritt. 
$  $  fy\  genie  (aHein). 
SBoIIen,  gnabige  ^etterin, 

unfcf)ulbig  SSerfoIgte, 
540    Unb  auf  SSinben  bem  el>rnen  ©efd)i(f  fie 
2lu§  ben  3lrnten,  iiber  ba§  SJieer, 
liber  ber  @rbe  toettefte  ©trecfen 
Unb  h)oi>tn  e§  bir  gut  biin!t  ju  tragen. 
SBeife  bift  bu  unb  fie^eft  ba§  ^iinftige; 


(Sifter  Sfofeug.    SBierter  auftritt.  25 


545    Sficfyt  tooriiber  tft  btr  ba§  33ergangne, 
Unb  bein  33Ucf  rufyt  iiber  ben  2)etnen 
2Bie  bein  2irf>t,  ba§  Seben  ber  9lacfyte. 
Uber  ber  Grbe  ruijet  itnb  toaltet. 
D  ent^alte  bom  Slut  meine  §anbe! 

550    dimmer  brtngt  e§  (Segen  itnb  S^u^e  ; 
Unb  bte  ©eftalt  be§  sufattig  ©rmorbeten 
3Sirb  auf  be§  traurig=unft>tHtgen 
Sofe  Stunben  lauern  unb  fcfyrecfen. 
3)enn  bte  Unfterblid^en  Iteben  ber 

555    SSett  berbreitete  gute  ©efd^Ied^ter, 
Unb  fte  frtften  ba§  pc^tige  Seben 
©eme  bem  ©terblicfyen,  tootten  ii>m  gernc 
3$re§  eigenen,  etoigen  ^immelg 
9)iitgente^enbe§  frofylicfyeS  2lnfc^aun 

560    @ine  SBeile  gonnen  unb  laffen. 


(grfter  tfuftritt. 
D  r  e  ft.    $  ty  I  a  b  e  g. 

Dreft. 

@3  ift  ber  2Beg  be§  £obe§,  ben  fair  tretcn: 
9Jtit  jebem  ©cfyritt  toirb  meine  ©eele  fritter. 
3ll§  idj  3l^oUen  bat,  ba§  gra^lid>e 
©eleit  ber  3ta^egeifter  toon  ber  ©eite 

565    SJtir  abjune^men,  fd>ten  er  §iilf'  unb  S'lettung 
^m  £empel  feiner  bielgeliebten  ©d^ltjefter, 
2)ie  iiber  2;auri§  ^errfd^t,  mit  ^offnung^reid^en 
©etoiffen  ©otterloorten  511  berfipred^en ; 
Unb  nun  erfuttet  ftt^'8,  ba^  atte  $lott) 

570    Wlit  meinem  Seben  boUig  enben  fott. 

SBie  leicfyt  h)irb'§  ntir,  bem  etne  ©otterfyanb 
2)a§  §erj  jufammenbriidft,  ben  ©inn  betaubt, 
2)em  fcf)onen  Sid^t  ber  <Sonne  ju  entfagen. 
Unb  fatten  2ttreu§  (Snfel  in  ber  ©d)la$t 

575    ©in  fiegbefronte§  @nbe  nicfyt  getoinnen ; 
©off  id)  toie  meine  2l^nen,  toie  mein  33ater, 
2ll§  D^fertbier  im  ^a^^ertobe  bluten: 
@o  fei  e§ !     Seffer  E)ier  bor  bem  2(Itar, 
2U§  im  bertworfnen  SSinfel,  too  bie  9te£e 

580    ®er  na^bertoanbte  2)teucfyelm5rber  ftettt. 
2a|t  mir  fo  lange  9tufy,  i^r  Unterirb  'f cfyen, 


9luf$ug.    (Srfter  SUtftritt.  27 

$)ie  nacf>  bent  33Iut  ifyr,  ba£  toon  tneinen  Xritten 
^ernieber  trdufelnb  meinen  $fab  bejeicfynet, 
•JBie  loSgelaff  ne  §unbe  fpiirenb  fyeljt. 

583    Sajjt  mid),  id}  fomme  balb  511  eitcfy  i>tnab; 

2)a§  2tcfyt  be^  Xag§  foil  euc^)  md)t  fei>n,  nod^  tntd^. 
®er  ®rbe  fdponer  griiner  2;e)3^ic^  foff 
$ein  ^ummel^Ia^  fiir  Sarben  fein.     2)ort  unten 
(Surf)'  id^  euc^  auf:  bort  binbet  aUe  bann 

590    @in  gleid?  ©efd^irf  in  eto'ge  matte 
9Zur  btd^,  mein  ^labe§,  bic^,  meiner 
llnb  metneS  33annS  unfrf>ulbigen  ©enoffen, 
2Bie  ungern  nebm'  id)  bicf>  in  jene§  Xrauerlanb 
^r%eittg  mit!     SDein  2eben  ober  SCob 

595    ©ibt  mtr  attein  no^>  §offnung  ober 


^d9  bin  nocfy  nirfjt,  Dreft,  n?ie  bu  berett, 

3n  jene€  ©d^attenreid^  ^tnabjuge^n. 

$rf>  finne  nocf),  burrf)  bie  bertoorrnen 

2)ie  nad^  ber  fcfytoarjen  9iad^t  ju  fii^ren  fd^einen, 

600    Un§  ju  bem  2eben  toieber  aiifjutoinben.- 

$$  benfe  nid^t  ben  £ob;  id?  finn'  unb  fyordfo 
Db  nidgt  ju  irgenb  einer  frozen  ^lud^t 
SDie  ©otter  9tat{>  unb  2Bege  jubereiten.       r  «.-,.' 
2)er  2^ob,  gefiird^tet  ober  ungefiird^tet, 

605    £ommt  unauff>altfam.     SSenn  bie  $riefterin 
©c^on,  unfre  2ocfen  toeif)enb  abjufd^neiben, 
2)ie  §anb  erf>ebt,  foU  bein'  unb  meine  S^ettung 
9Jiein  einjiger  ©ebanfe  fein.     @rE>ebe 
3Son  biefem  Unmutfy  beine  ©eele;  jtoeifelnb 

610    SBefc^Ieunigeft  bu  bie  ©efa^r. 


3pf)igenie  auf 


©ab  un3  ba§  2Bort:  im  §eiligtfyum  ber  ©d)tt>efter 
©ei  $roft  unb  §itlf  unb  3<luc!fef)r  bir  bereitet. 
35er  ©otter  2Borte  finb  nid)t  boppelfinnig, 
2Bie  ber  ©ebriirfte  fie  im  Unmutl)  toafmt. 

D  r  e  ft. 

615    2)e§  Seben^  bunlle  3)edEe  breitete 

2)ie  SJlutter  fc^on  tnir  urn  ba§  jarte  §au^t, 
Unb  fo  ttwcfyg  id^  ^erauf,  ein  ©benbilb 
£>e3  SSaterS,  unb  e§  it>ar  mem  ftummer  23Uc! 
@in  bittrer  SSortourf  il>r  unb  i^rem  Sullen. 

6ao    2Bie  oft,  toenn  ftitt  ©leltra,  meine  ©dptoefter, 
2lm  ^euer  in  ber  tiefen  §atte  fa^, 
£>rangt'  \fy  bellommen  mic^>  an  ifyren  <Sd^oo§, 
Unb  ftarrte,  it)ie  fie  bitter  toeinte,  fie 
3Jlit  grofjen  Slugen  an.    25ann  fagte  fie 

625    3Son  unferm  ^oJ?en  SSater  biel:  toie  fe^r 
SSerlangt'  id)  ifyn  jii  fe^n,  bei  ifym  gu  fein! 
3Jiid;  n)iinfd)t'  id;  balb  nad)  Stroja,  it>n  balb  fyer. 
@«  fam  ber  £ag  — 

^3  \)  I  a  b  e  s. 

D  lajj  toon  jener  ©tunbe 
©id)-§ottengeifter  nacfytlid;  unter^alten! 

630    Un§  gebe  bie  ©rinnrung  fd)6ner  $e\t 
3u  frifd)em  §elbenlaufe  neue  ^raft. 
2)ie  ©otter  brattdfyen  mand)en  guten  SRann 
3u  i^rem  ®ienft  auf  biefer  toeiten  @rbe. 
©ie  l>aben  nod)  auf  bid)  gejafylt;  fte  gaben 

635    £>id;  nid)t  bem  5Bater  jum  ©eleite  mit, 
3)a  er  untoiHig  nad?  bem  Drcu§  ging. 


3»eitet  Stufjug.    (Srfiet  Sluftritt. 

Dreft. 

D,  toar'  idj>,  feinen  Sawn  ergreifenb,  ib,m 
©efolgt! 

$  ty  I  a  b  e  8. 

<5o  fyaben  bie,  bie  bid?  erfyielten, 
$ur  mid?  geforgt:  benn  toaS  id^  toorben  Voare, 
040    28enn  bu  nic^t  leBteft,  fann  icfy  mtr  ni<fyt  benlen; 
S)a  icfy  mit  btr  unb  beinettoillen  nur 
(Sett  meiner  $inbfyeit  Icb'  unb  leben  mag. 

Dreft. 

(Srinnre  micfy  nid^t  jener  fc^bnen  ^age, 
2)a  mtr  bein  ^au§  bie  freie  ©tatte  gab, 

645    2)ein  ebler  SSater  !Iug  unb  ItebeboH 
£>te  ^alberftarrte  junge  Sliit^e  ^flegte; 
2)a  bu  ein  immer  munterer  ©efette, 
©leid^  einem  letc^ten  bunten  Scfymetterltng 
Um  eine  bunlle  33Iume,  jeben  £ag 

650    Um  mtc^  mit  neuem  Seben  gaulelteft, 
SJlir  beine  Suft  in  meine  ©eele  fpielteft, 
2)af;  id^,  bergeffenb  meiner  ^lotb,,  mit  bir 
^n  rafter  $ugenb  b^ingeriffen  fdptuarmte. 

^^  lab  e«. 
3)a  fing  mein  Seben  an,  al^  icb,  bic^  liebte. 

Dreft. 

655    ©ag*  meine  ^iotb,  begann,  unb  bu  fpricbjt  loa^r. 
3)a§  ift  ba§  ^ngftlid^e  toon  meinem  ©d^idEfal, 
3)ajj  id^,  toie  ein  ber^jefteter  SBertriebner, 
©eb,eimen  ©dgmerj  unb  3:ob  im  Sufen  trage; 


30  Spfyigenie  cmf 

£)afj,  too  \3)  ben  gefunb'ften  Drt  betrete, 
660    ©ar  balb  urn  mid)  bie  bliifyenben  ©eficfyter 

$en  (S^merjenSjug  langfamen  STob'S  toerratb,en. 


5)3  ty  I  a  b  e  8. 

®er  Sftacbjte  todr'  id?  biefen  £ob  ju  fterben, 
SBenn  je  betn  §aud^,  Dreft,  bergtftete. 
S3in  id^»  ntd^t  immer  noi^  tooff  5Rut^>  unb  2uft? 
665    Unb  Suft  unb  Siebe  ftnb  bie  $ttttge 


Dreft. 
©rojje 

%fy  toetjj  bie  3«*/  ^a  ^r  fte  bor  ung  fa^n! 
2Benn  totr  gufammen  oft  bem  SBilbe  na$ 
2)ur^>  33erg'  unb  2^b,aler  rannten  unb  beretnft 

670    2ln  S3ruft  unb  ^auft  bem  ^ol^en  ^fynfyerrn  glet 
3Jiit  ^eul'  unb  ©djtoert  bem  llnge^euer  fo, 
2)em  Member  auf  ber  <B^wc  ju  jagen  ^offten; 
Unb  bann  ioir  2lbenb§  an  ber  toeiten  (See 
Un§  aneinanber  lei>nenb  rub,tg  fa^en, 

675    2)ie  SBetten  bt§  ju  imfern  ^ii^en  f^telten, 
®te  SBelt  fo  toett,  fo  offen  Dor  un3  lag; 
2)a  fu^r  too^I  (Stner  mand^mal  nad>  bem 
Unb  liinft'ge  Xljaten  brangen  tote  bie  ©terne 
9lingg  urn  un§  fyer  unjd^Iig  aug  ber 


$  ty  I  a  b  e  8. 

Unenblid;  ift  ba§  SBerf,  ba§  ju  bottfut)ren 
$>ie  ©eele  bringt.    2Bir  molten  jebe  3^at 
@o  gro^  gleid;  tfyun,  al^  toie  fie  toacf)f't  unb  toirb, 
2Benn  ^a^e  lang  burdj  2anber  unb  ©efd)Iec|ter 


3tt)eiter  aufjug.    (Srfler  »itftritt.  31 


ber  SDicfyter  fte  bermefyrenb  ttml$t. 

685    ©3  flingt  fo  fcfyon  h>a£  unfre  SBater  tfyaten, 
SBenn  e§  in  ftitten  3tbenbfd^atten  rufyenb 
2)er  ^iingling  mit  bem  £on  ber  £>arfe  frf)Iurft; 
Unb  toaS  nnr  tt)iin  ift,  trie  e3  i^nen  tear, 
SSott  SDHty'  unb  eitel  ©tucftoerf! 

690    @o  laufen  loir  na<^  bem,  toaS  bor  un§  flie^t, 
llnb  acfyten  nid^t  beg  2Bege€  ben  fair  treten, 
Unb  fe^en  neben  un§  ber  3(^n^errn  Xritte 
Unb  ib,re3  ©rbeleben^  Spuren  faurn. 
2Bir  eilen  immer  iijrem  ©fatten  nac^, 

695    $)er  gottergleid^  in  einer  toeiten  ^erne 

®er  Serge  §au^)t  auf  golbnen  2Bolfen  front. 
^d^  fyatte  nid^tl  toon  bem,  ber  toon  ficb,  benft 
2Bte  i^n  ba§  Soil  Dietteid^t  er^eben  mod^te. 
Slttein,  o  ^iingling,  banfe  bu  ben  ©b'ttern, 

700    $)afj  fie  fo  friib,  burc^  bidp  fo  biel  get^an. 

Dreft. 

2Benn  fie  bem  ^enfd&en  MC  2;^at  befc^eren 
3)ajj  er  ein  Unveil  toon  ben  <5einen  luenbet, 
2)a^  er  fein  Steicfy  bermeb,rt,  bie  ©rangen  ficfyert, 
Unb  alte  geinbe  fatten  ober  fliefm; 

705    2)ann  mag  er  ban!en!  benn  i^m  ^at  ein  ©ott 
2)e§  2eben§  erfte,  lefcte  Suft  gegonnt. 
3Jiid5  i)aben  fie  gum  <Scf)Id^ter  au§er!oren, 
3um  2R6rber  meiner  boc^>  bere^rten  5Rutter, 
Unb,  eine  ©cfyanbtfyat  fd^anblic^  ra'rfjenb,  mic§ 

710    3)urd9  t^ren  SSinf  511  ©runb'  geric^tet. 
@ie  fyaben  e€  auf  2;antall  §au§  gericfytet, 
Unb  id),  ber  Se^te,  foff  nid^t  frf)ulblo§,  fott 
berge^n. 


32  SMgenie  ouf 

$  9 1  a  b  e  §. 

£)te  ©5tter  racfyen 
£)er  SBater  -Dtiffetfyat  ntcfyt  an  bent  ©o^n; 
715    @in  jeglic^er,  gut  ober  bbfe,  ntmmt 

©idp  feinen  So^n  ntit  fetner  ^t)at  I^intoeg. 
@g  erbt  ber  ©Item  ©egen,  ntd^t  t^r  $lu$. 

Dreft. 
Ung  fii^rt  i^>r  ©egen,  biinft  ntid?,  nid^t 


toenigftenS  ber  fyofytn  ©otter  2BiUe. 

Dreft. 
720    ©o  ift'3  t^>r  2Bitte  benn,  ber  un«  berberbt. 


^u'  h)a§  fie  bir  gebieten  unb  ertoarte. 
Sringft  bu  bie  ©cfytoefter  ju  gotten  ^)i 
Unb  toofynen  betbe  bann  bereint  ju 
SSerelirt  toon  einem  3SoII  ba§  ebel  benft; 
725    <So  toirb  fiir  biefe  ^^at  ba§  ^o^e  ^Baar 
2)ir  gnabtg  fein,  fie  toerben  au§  ber  £anb 
3)er  Unterirb'fd^en  bid^  erretten.    (Scfyon 
^n  biefen  ^eil'gen  §ain  toagt  !eine  fi^>. 


Dreft. 
ioenigftenS  geru^'gen  Stob. 


730    ©anj  anberg  benf  id^,  unb  ntc^t  ungefc^idEt 

£ab'  \tf)  ba§  fd^on  ©efd^e^ne  tntt  bent  ^unft'gen 
SBerbunben  unb  im  ftitten  auSgelegt. 


(Srfter  «uftritt.  33 


33ietteic6,t  rcift  in  ber  ©otter  SRatb,  fctyon  lange 
2)ag  grofje  2Berf.     £>iana  fefynet  fid) 
735    2?on  biefem  raufyen  Ufer  ber  SBarbaren 
Unb  ifyren  blut'gen  -iDknfcfyenopfern  toeg. 
2Bir  toaren  ju  ber  fcfyonen  ^at  beftimmt, 
Un§  toirb  fie  auferlegt,  unb  feltfam  finb 
9Bir  an  ber  ^Sforte  fd^on  gegtoungen  ^>ier. 

Dreft. 

740    Wit  feltner  ^unft  flid^tft  bu  ber  ©otter  9taty 
Unb  beine  2Biinfd^e  flug  in  (Sing  jufammen. 

^  V  I  a  b  e  8. 

2Ba§  ift  be^  3Jienfrf)en  £lugb,eit,  toenn  fte  nid^t 
2luf  Sener  SSttten  broben  ad^tenb  laiifc^t? 
3u  einer  fd^iueren  ^i>at  beruft  ein  ©ott 
745    $)en  ebeln  -iJKann,  ber  biel  berbrad?,  unb  legt 
!3b,m  auf  h)a^  un§  unmogli^  fd^eint  ju  enben. 
@g  fiegt  ber  §elb,  unb  bii^enb  bienet  er 
£)en  ©ottern  unb  ber  SBelt,  bie  i^n  bere^rt. 

Dreft. 
33in  id^>  beftimmt  gu  leben  unb  ju  ^anbeln, 

750    <5o  ne^m'  ein  ©ott  toon  meiner  fcfytoeren  Stirn 
2)en  @df)h)inbel  toeg,  ber  auf  bem  fcfylitpfrigen, 
3Jiit  50lutterblut  bef))rengten  ^Bfabe  fort 
3Jtid;>  ju  ben  2:obten  rei^t.    @r  trodne  gnabig 
3)ie  Duelle,  bie,  mir  au§  ber  3Jiutter  2Bunben 

755    ©ntgegen  f^rubelnb,  etoig  micfj  befledH. 

^3  V  I  a  b  «  «• 

©rtoart'  eg  rufyiger!     ®u  meb,rft  bag  tibel 
Unb  nimmft  bag  2lmt  ber  gurien  auf  bid?. 


34  Styljigente  auf  £aurt«. 

£ajj  mid*)  nur  finnen,  bleibe  ftitt !     3ule$t, 
33ebarf'§  jur  £l)at  bereinter  $rafte,  bann 
760    Sfotf  icb,  bid)  auf,  unb  beibe  fcfjreiten  toir 
3Jiit  iiberlegter  ^ii^n^eit  jur  SSottenbung. 

Dreft. 
3c6  bor'  Ultyffen  reben. 


ii^  fetnen  §elben  hmfylen, 
er  bie  2Begc  jum  DIi?m^  ^inauf 
765    <3td^  nadjarbettet.    Sa^  e§  mi^i  gefte^n: 

3Jiir  fd^emen  2ift  unb  ^lug^eit  mrf)t  ben  9Jlann 
3u  fd^dnben,  ber  jidj  lii^nen  ^£^aten  toei^t. 

Dreft. 
2$  fd^a^e  ben,  ber  tapfer  ift  unb  g'rab. 


2)rum  b,ab'  ic^  leinen  9tat^  toon  bir  berlangt. 
770    ©cfyon  ift  ein  <Sd>ritt  getfyan.     3Son  unfern  2Bd4>terf 

§ab'  icb,  bilker  gar  biele§  auSgelodft. 

2$  toei^,  ein  frembeS,  gottergleirf>e§  2Beib 

§dlt  jene§  blutige  ©efe^  gefeffelt ; 

@in  reined  §erj  unb  -JBeifyraucfy  unb  ©ebet 
775    Sringt  fie  ben  ©ottern  bar.    9Jlan  riif>met  ^od^ 

35ie  ©iitige ;  man  glaubet,  fie  entfbringe 

SBom  ©tamm  ber  Slmajonen,  fei  geflofyn, 

Um  einem  gro^en  Unveil  ju  entge^n. 

Dreft. 

@§  fc^eint,  ifyr  Uc^>te§  9teic^  berlor  bie 
ben  ber 


Sluftritt. 


2Bie  etne  breite  9?a$t  berfolgt  unb  berft. 
$ie  fromtne  Slutgier  loft  ben  alten  Sraucfy 
SBon  feinen  $effeln  Io3,  un§  ju  toerberben. 
SDer  toilbe  Sinn  be3  £onig§  tobtet  ung; 
785    Sin  SSeib  hrirb  un§  nic^t  retten,  trenn  er  jiirnt. 

ty  q  I  a  b  e  8. 

2Bo^I  un3,  ba^  e§  ein  2Beib  ift  !  benn  ein 
£)er  befte  felbft,  geioo^net  feinen  ©eift 
2ln  ©raufamfeit  unb  mac^t  ficfy  au 
2tu§  bent,  toa§  er  berabfc^eut,  ein 

790    SSirb  au§  ©etoo^n^ett  ^art  unb  faft  unfenntli^. 
3lHein  ein  SBeib  bleibt  ftdt  auf  Ginem  (Sinn 
2)en  fie  gefa^t.    ®u  rerfmeft  fic^erer 
2luf  fie  im  ©uten  toie  im  S3of  en.  —  ©tiff  ! 
<3ie  lommt  ;  lafj  un§  aUein.     %<fy  barf  nicfyt  glet 

795     3^>r  unfre  UZamen  nennen,  unfer  ©d^idffal 
^ic^t  ofme  9lucff>alt  i^r  bertraun.     ®u  getyft, 
Unb  e^'  fte  mit  bir  fbrid^t,  treff'  ic^>  bic^  no$. 


2tuftrttt. 


3  p  $  i  g  e  n  i  e. 

2Boij>er  bu  feift  unb  fommft,  o  g-rembling, 
2Rir  fcfyetnt  e3,  ba^  icf>  e^er  einem  ©riec^en 
800    2U§  einem  Sc^tf)en  bic^)  berglei(f)en  foil. 
(@ie  nimmt  ifjm  bie  $etten  ab.) 
ift  bie  grei^ett,  bie  ic§  gebe; 
©otter  toenben  ab  toa§  eud)  bebro^t! 


36  3pl)igenie  ouf 


D  fiifje  ©timme!     Sielhritffommner  £on 
2)er  2Rutterfpracfy'  in  einem  fremben  Sanbe! 

805    25e§  todterlicfyen  $afen§  blaue  Serge 

<Sefy'  idfy  ©efangner  neu  hnttfommen  toieber 
SSor  meinen  2lugen.    Sajj  bit  biefe  ^reube 
SSerftd^ern,  ba^  aud^)  id^  etn  ©riecfye  bin! 
SSergeffen  ^ab'  ic§  einen  Sltigenbltrf, 

810    2Bie  fe^>r  icfy  bein  bebarf,  unb  meinen  ©eift 
3)er  ^errlic^en  (Srfc^einung  jugetoenbet. 
D  fage,  toenn  bir  bein  Skrfyangnijj  nid^t 
2)ie  Si^e  fc^Iie^t,  aitS  toeld^em  unfrer  ©tamme 
35u  beine  gottergleicfye  §er!unft  5df)Ift. 

3  pfyi  genie. 

815    2)ie  ^Sriefterin,  toon  ifyrer  ©ottin  felbft 
©etoa^Iet  unb  gefyeiligt,  f^rid^t  mit  bir. 
$a§  Ia|  bir  g'niigen  ;  fage,  toer  bit  feift 
Unb  toelcf}  unfeligsh)altenbe§  ©efc^idE 
^it  bem  ©efafyrten  bid^  ^ier^er  gebrad^t. 

?P  i?  I  a  b  e  §. 
820    Seidpt  !onn  id^  bir  er^afylen,  h)eld9  ein  Ubel 

5Jltt  laftenber  ©efettfd[)aft  un§  berfolgt. 

D  fonnteft  bu  ber  §offnung  frozen  33Ii(f 

Un§  aud?  fo  leirfjt,  bu  ©ottlid^e,  getoa^ren! 

2lu§  $reta  finb  toir,  @of>ne  be§  2lbraft3: 
825    %tf)  bin  ber  jiingfte,  6e))i>alu§  genannt, 

Unb  er  SaobamaS,  ber  altefte 

35e«  §aufeg.    Btoifc^eit  un§  ftanb  ta4  unb  hrilb 

6in  mittlerer,  unb  trennte  fcfyon  im 


3tt>eiter  lufjug.    ^welter  Sluftritt.  37 

&er  erften  !yugenb  ©tntgleit  unb  Suft. 

830    ©elaffen  folgten  toir  ber  Gutter  S&orten, 
'  <So  long  be§  23ater§  $raft  Dor  £roja  ftritt; 
35ocfj  al$  er  beutereicfy  juriicfe  !am 
Unb  furj  baraitf  berfdEneb,  ba  trennte  balb 
2)er  ©treit  urn  Stci^)  unb  @r&e  bie  ©ef^n?ifter. 

835    S<^  netgte  mtdE)  jum  alt'ften.    (Sr  erfcfylug 
2)en  Sruber.    Urn  ber  Slutfd^ulb  toitten  treibt 
S)ie  ^urie  getoaltig  i^n  um^er. 

biefem  nnlben  Ufer  fcnbet  un§ 
,  ber  SDefyfyifcfye,  tnit  §offnung  jii. 

840    ^m  3^empet  fetner  (Sd^toefter  fyiefj  er  un§ 
2)er  ^iilfe  fegengbotte  ^anb  eriuarten. 
©efangen  finb  toir  unb  ^ter^er  gebrac^t, 
Unb  bir  aid  D^fer  bargeftettt.    ®u  foeifet'S. 


iet  ^roja?    Xi>eurer  SRann,  berfidgr'  eS  mir. 


845    @3  Itegt.    D  fid^re  bu  un§  Stettung  ju! 
SBefd^Ieumge  bie  £iilfe,  bie  ein  ©ott 
23ertyrad;>.    ©rbarme  meine§  Sruberg  bidp. 
D  fag'  ifym  balb  ein  gitteS  ^olbe§  2Bort; 
fc^one  feiner  toenn  bu  mtt  if)m  fyricfyft, 
bitt'  id?  eifrig:  benn  e§  toirb  gar  leicfyt 

^reub'  unb  <S  corner  j  unb  bur  09  ©rinnerung 
©ein  3nne*f*e3  ergriffen  unb  jerriittet. 
@in  fie&erfyafter  SBa^nfinn  faHt  il>n  an, 
Unb  feine  fcfyone  freie  ©eele  toirb 
855    2)en  ^urien  jum  9laube  i>ingegeben. 


3pl)igeme  auf 


@o  grofc  bein  Ungliic!  ift,  befcfytoor'  id?  bi$, 
SBergijj  e§,  bi§  bu  mir  genug  getfyan. 

$  ty  I  a  b  e  §. 

2)ie  b,ob,e  ©tabt,  bie  ^efyen  lange  ^a^re 
S)em  garden  §eer  ber  ©rted^en  toiberftanb, 
2iegt  nun  im  ©c^utte,  fteigt  nicfyt  toieber  auf. 
mancfye  ©raber  unfrer  33e[ten  i)ei^en 
an  ba§  lifer  ber  SBarbaren  benlen. 
Uegt  bort  ntit  feinem  fd^onen  ^reunbe. 


<So  fetb  tijr  ©otterbtlber  aud^  ju  @taub! 

^  ^  I  a  b  e  3. 
865    2(udj  $alamebe§,  2tja£  ^elamonS, 

@ie  fafyn  be§  $8aterlanbe§  ^tag  nid?t  hrieber. 


©r  fd^loeigt  toon  meinem  SSater,  nennt  ib,n  ntd^t 
3Kit  ben  @rf4)Iagnen.    ^a!  er  lebt  mir  nod;)! 
3d?  toerb'  i^n  feb,n!    D  ^of 


870    2)od9  felig  ftnb  bie  Xaufenbe,  bie  ftarben 
2)en  bitterfiifjen  ^ob  toon  ^einbe§  §anb! 
£><nn  toiifte  @d)red;en  unb  ein  iraurig  @nbe 
§at  ben  3ftud;!e^renben  ftatt  be§  ^rium^b,« 
@in  feinblid^  aufgebra^ter  ©ott  bereitet. 

875    ^otnmt  benn  ber  SJtenfcfyen  ©timme  nid^t  311  eu 
(So  toeit  fie  reicfyt,  tragt  fie  ben  9^uf  umfyer 
SBon  uner^)5rten  2;^aten  bie  gefcfyafyn. 


3>nettfr  Tlufsiig.    3»eiter  ^uftrttt.  '  39 

@o  ift  ber  jammer,  ber  SJttycenenS  fallen 
3Jlit  immer  nneberfyolten  <Seufjern  fiillt, 
$)ir  ein  ©efyeimnijj  ?    $ltytamneftra  fyat 
»  £ulf  SfgiftfyenS  ben  ©entail  beriitft, 
2tm  2^age  fetner  S^iidEfeijr  iE>n  ermorbet!  — 
^a,  bu  berebreft  biefeS  ^oni 
^c^  fe^>'  e§,  beine  Sruft  befam^ft 
35a§  unerh)artet  unge^eure  2Bort. 
33ift  bu  bie  ^od^ter  eineS  ^reunbe^?  bift 
2)u  nad^barlic^  in  biefer  @tabt  geboren? 
SSerbirg  e»  nid^t  unb  redone  mtr'^  nicfyt  g 
2)a^  ic^  ber  ©rfte  biefe  ©rauel  melbe. 


890    ©ag'  an,  h)ie  toarb  bie  frf)tr)ere 


2lm  2;age  feiner  2tnfunft,  ba  ber 
SSom  Sab  erquicft  unb  rut^ig,  fein  ©etoanb 
2ht3  ber  ©emai>Iin  §anb  berlangenb,  ftieg, 
SBarf  bie  3SerberbIid>e  ein  faltenreicfy 

895    Unb  fiinftlid?  ftd^  toertoirrenbeS  ©etoebe 
^m  auf  bie  fScfyultern,  um  ba^  eble 
Unb  ba  er  nrie  toon  einem  9Je£e  fid^ 
3Sergeben§  ju  enttoicEeln  ftrebte,  fd^»Iug 
2lgift^  i^n,  ber  SBerratfyer,  unb  berf>iifft 

900    ©ing  ju  ben  Xobten  biefer  grofje 


Unb  toelc^en  Sofyn  er^iett  ber 

$VIab^- 
©in  9teid9  unb  S3ette,  ba§  er  fdjon  befa^. 


40  3pf)igenie  auf 

3pfyigenie. 
@o  trieb  gut  ©cfyanbtfyat  eine  bdfe  Suft? 

$tylabe§. 
Unb  einer  altcn  3tarf>e  tief  ©efitljl. 

^pfyigenie. 
905    Unb  tote  beleibigte  ber  $onig  fie? 


3Jtit  fcfytoerer  2$at,  bie,  toenn 
S)e§  9Jiorbe§  toare,  fie  entfdf>ulbigte. 
3flad^  2litli3  lorft'  er  fie  unb  bracfyte  bort, 
31I§  eine  ©ott^eit  ficfy  ber  ©ried^en  ga^rt 

910    3Jiit  ungeftumen  SBinben  toiberfe^te, 
2)ie  alt'fte  Stouter,  ^^^tgenien, 
S?or  ben  2lltar  S)ianen§,  unb  fie  fiel 
©in  blutig  Dpfer  fitr  ber  ©riecfyen  §eil. 
®ie^  fagt  man,  fyat  i^r  einen  SBibertoitten 

915    ©o  tief  in'S  §erj  ge^ragt,  bafc  fie  bem  2Berben 
3tgift^>en§  fidj  ergab  unb  ben  ©entail 
3Rit  5Re^en  beg  3Serberben§  felbft  umfc^Iang. 


@g  ift  genug.    2)u  toirft  mid^  toieberfe^n. 

$tylabe§  (aHein). 
S5on  bem  ©efc^idf  be§  ^onig§*§aufe§  fc^eint 

920    ©ie  tief  geriifyrt.    3Ser  fie  au6^  immer  fei, 
©o  ^at  fie  felbft  ben  £omg  too^I  gelannt 
Unb  ift,  au  unferm  ©liicf,  au§  i>o^em  §aufe 
§ierl>er  berfauft.    9hir  ftiffe,  liebeS  §erj, 
Unb  Ia&  bem  ©tern  ber  §offnung,  ber  un§  blinft, 

925    3Kit  frofyem  3Jlut^  unS  flug  entgegen  fteuem.- 


<£rfter  2luftritt. 
Drcft. 


Ungliirflicfyer,  id)  lofe  beine  SBanbe 


3)ie  greifyeit,  bie  ba§  £eiligtfyum  gehmljrt, 
3ft,  tote  ber  lefcte  lic^te  2c6en§blicf 

930    3)e§  fd^toer  Grfranlten,  2:obe§bote.    9iod^ 
$ann  i^  e§  tntr  unb  barf  e§  nttr  nic^t  fagen, 
2)ajj  ii)r  berloren  feib!    2Bte  fount'  tcfy  eud^ 
9Jiit  tnorberifd^er  §anb  bem  ^obe  toei^en? 
Unb  nicmanb,  toer  e§  fei,  barf  euer 

935    @o  lang  i^>  ^riefterin  2)ianen§  bin, 
Serii^ren.    $0$  toertoetgr'  ic^i  jene 
SBie  fie  ber  aufgebrarf)te  ^onig  forbert; 
<So  toa^It  er  eine  meiner  ^ungfraun  tnir 
3ur  ^olgerin,  unb  \<fy  bermag  aUbanu 

940    3)iit  ^ei^ent  2Bunfd^  aHein  eud^)  beijuftefyn. 
D  toert^er  SaubSmann!     (Selbft  ber  Ie$te 
3)er  an  ben  §erb  ber  Satergotter  ftreifte, 
3ft  un§  in  frembem  Sanbe  fyodj*  tr>iU!ommen: 
2Bie  foil  \<fy  eucfy  geuug  ntit  greub'  unb  <5egen 

945    ©m^fangen,  bie  i^r  tnir  ba§  33ilb  ber  §elben, 


42  3pt)igenie  aitf 

®ie  id;  toon  ©Item  fyer  toerefyren  lemte, 

@ntgegen  bringet  unb  ba§  innre  §erj 

3Kit  neuer  fd;oner  §offnung  frf;meid;elnb  labet! 

Dreft. 

SBerbirgft  bu  beinen  Seamen,  beine  £erlunft 
950    3Jitt  flugem  SBorfa^?  ober  barf  id?  toiffen, 
2Ber  mir,  gleid;  einer  ^itnmlifd^en,  begegnet? 


foEft  mid;  fennen.    ^e|o  fag'  tnir  an, 

id;  nur  fyalb  toon  beinem  Sruber  fyorte, 
S)a§  @nbe  berer,  bie  toon  £roja  fei?renb 

955    @in  fyarteS  unertt>artete§  ©efd;idf 

2(uf  i^rer  2Bob,mmg  @d;tDette  ftumm  em^fing. 
3toar  toarb  id;  jung  an  biefen  <Stranb  gefii^rt; 
2Dod)  tooi>l  erinnr'  id;  mid;  be§  fd)euen  S3IidE^ 
£>en  id;  mit  ©taunen  unb  mit  Sangigfeit 

960    3luf  jene  £>elben  toarf.    <Sie  jogen  au§, 
2H§  j)atte  ber  Dl^m^  fid;  aitfgetfyan 
Unb  bic  ©eftalten  ber  erlaucfyten  Sortoelt 
3um  <Sd;reden  %lion$  fyerabgefenbet, 
Unb  2Igamemnon  h)ar  bor  alien  fyerrlid;  ! 

965    D  fage  mir!    @r  fiel,  fein  £aii3  betretenb, 
f  einer  ^rauen  unb  $giftb,en3 

Dreft. 
fagft'3! 


2Be^>  bir,  unfelige§  SJtycen! 
<5o  ^aben  3TantaI§  @nfel  glurf;  auf  ^flud; 
3Jlit  botten  toilben  §dnben  au^gefat! 
970    Unb  gleid;  bem  Unfraut,  toiifte  Doubter  fd;uttelnb 


2)ntter  SUtfjiifl.    Grfter  Slitftritt.  43 


Unb  taufenbfdlt'gen  <3amen  urn  fidf)  ftreuenb, 

3)en  $inbe§fmbern  nafybertoanbte 

$ur  eto'gen  3BecfyfeIhwty  erjeugt! 

3Sa§  toon  ber  9tebe  beine§  33ruber§  fcfmett 

975    3)ie  ^infternt^  be§  ©rf>redfen^  tnir  berbecEte. 
2Bte  ift  bed  grojjen  <Stamme§  letter  (Soljm, 
S)a«  ^olbc  ^inb,  beftimmt  beg  2Sater§ 
2)erein|t  ju  fein,  tote  ift  Dre|t  bem 
2)e§  Slutg  entgangen?    ^at  ein  gleicfy  ©efc^tc! 

980    3Jlit  be§  2lbernug  9^e^en  tF>n  umf^Iungen? 
3ft  er  gerettet?    Sebt  er?    2ebt  @Ie!tra? 

Dreft. 
@ie  leben. 


©olbne  ©onne,  Ieif>e  mtr 
£)ie  fd^onften  ©tra^Ien,  lege  fie  jum  2)anf 
SSor  3oi)i^  3^f>ron!  benn  i^  bin  arm  unb  ftumm. 

Dreft. 

985    Sift  bu  gaftfreunblicfy  biefem  $6nig§=£aufe, 
Sift  bu  mit  nafyern  Sanben  ib,m  berbunben, 
2Bie  beine  fd^one  ^reube  tnir  berratfy: 
@o  bdnbige  bein  §erj  unb  fyalt'  e§  feft! 
^)enn  unertragltcb,  mu§  bem  ^ro^Iid^en 

990    ©n  jab,er  9?iidEfatt  in  bie  (Scfymerjen  fein. 
®u  toei^t  nur,  merf  icb,,  2lgamemnon§  Xob. 


"  id^  an  biefer  5?acf)rid9t  ni$t  genug? 

Dreft. 
ijaft  be§  ®rduel«  §dlfte  nur  erfa^ren. 


44  3pl)igenie  auf 


2Ba§  fifrd&t'  id;  nod;?    Dreft,  (gleltra  leben. 

Dreft. 
995  Unb  fttrd&teft  bit  fiir  flfytamneftren  nid?t3? 

^  ^i  genie. 
<5ie  rettet  toeber  §offmmg,  toeber  ^urd^t. 

D  r  e  ft. 
fc^ieb  fie  au§  bem  Sanb  ber  £offmmg  ab. 


fie  reutg  iuiit^enb  felbft  i^r  33Iut? 

Dreft. 
•Jtein,  bod^  i^r  eigen  23lut  gab  i^r  ben  2^ob. 


beutlid^er,  ba^  id)  nid)t  longer  finne. 
®ie  Ungeimjjfyeit  fd)Iagt  mir  taufenbfaltig 
2)ie  bunleln  @d)it)ingen  um  ba§  bange 

Dreft. 

@o  ^aben  mid)  bie  ©btter  au^erfe^n 
3um  S3oten  einer  Xfyat,  bie  id)  fo  gent 

1005  $n'§  HangloSsbum^fe  ^o^Ienreid;  ber 
SSerbergen  mod;te?    2Biber  meinen  2BiHen 
3h)ingt  mid)  bein  fyolber  3Jiunb;  attein  er  barf 
2lud)  eth)a§  @d;merjlid;§  forbern  unb  erl)alt'§. 
9lm  SCage,  ba  ber  33ater  fiel,  berbarg 

ioio  @Ie!tra  rettenb  ifyren  Sruber:  <Stro^^iu§, 
3)e§  23ater3  @d;toaf>er,  na^m  i^n  toiUig  auf, 
Grjog  i^n  neben  feinem  eignen  ©ofyne, 


fritter  lufeug.    (Srfter  Buftritt.  45 

2)er,  Sp^IabeS  genannt,  bie  fdjdnften  Sanbe 

3)er  ^reunbfcfyaft  um  ben  Slngefommnen  fniitofte. 
1015  Unb  toie  fie  ttmcfyfen,  ftwd:>3  in  tfyrer  <5eele 

35ie  brennenbe  Segier  beg  $imtg§  ^ob 

3u  rod^en.    Unberfe^en,  fremb  gefleibet, 

©rreid^en  fie  9Jl^cen,  al§  brdd^ten  fie 

2)ie  ^rauernac^rid^t  toon  DreftenS  ^obe 
1020  gjiit  feiner  2lf$e.    2Bo^t  em^fanget  fie 

2)te  ^ontgin;  fie  treten  in  ba§  §aul. 

©leftren  gibt  Dreft  ficfy  ju  erfennen; 

(Sie  bldf't  ber  Sfacfye  ^euer  in  i^m  auf, 

®a§  bor  ber  3Jiutter  fyetl'ger  ©egeniuart 
1025   ^n  fid^)  juriicfgebrannt  luar.     ©titte  fii^rt 

@ie  ifyn  jum  Drte,  too  fein  SSater  fiel, 

2Bo  eine  alte  leicfyte  6^)ur  be§  frec^ 

SBergoff'nen  33lute§  oftgetoafcfinen  SBoben 

3Jiit  blaffen  afynbung§toollen  Streifen  fcirbte. 
1030  3Jiit  ifyrer  geuerjunge  fd^ilberte 

<3ie  jeben  llmftanb  ber  berruc^ten  2^^>at, 

^^r  fnecfytifcfy  elenb  burd9gebrad^te§  2ebcn, 

2)en  tlbermut^  ber  gliidEIic^en  SSerrdt^er, 

Unb  bic  ©efafyren,  bte  nun  ber  ©efdjttrifter 
1035  3Son  einer  ftiefgetoorbnen  SJlutter  toarteten.  — 

§ier  brang  fie  jenen  alien  2)olcfy  iF>m  auf, 

2)er  fd^on  in  XantaB  §aufe  grimmig  toiit^ete, 

Unb  ^I^tdmneftra  fiel  burd^  @o^ne§  §anb. 

3  to  ^  t  g  e  n  i  e. 

Unfterblicfye,  bte  ifyr  ben  reinen  2:ag 
1040  Sluf  tmmer  neuen  2BoIIen  feltg  lebet, 
£abt  i^r  nur  barum  mid?  fo  mand^e^ 


46  3tf)igeme  oitf  2auri8. 


3Son  -BtenfrfKn  abgefonbert,  mic&,  fo  nab, 
33ei  eucb,  gefyalten,  ntir  bie  finblicfye 
33efrf)aftigung,  be§  fyeil'gen  geiierS  ©Iittfy 

1045  $11  nctyren  aufgetragen,  tneine  Seele 
£)er  glamme  gleid}  in  eto'ger  frotnmer 
3u  eiiem  2Boi)nungen  ^inaufgejogen, 
2)a^  id^  niir  meine^  §aufe§  ©rauel  footer 
Unb  tiefer  fiii>Ien  foEte?    6age  mir 

1050  3Som  Unglurffel'gen!  f^rid^  tnir  toon  Dreft!  — 

Dreft. 

D,  fonntc  man  toon  feinem  £obe  f^red^en! 

2Bic  gdi)renb  ftieg  au§  ber  (Srfd^Iagnen  93Iut 

2)er  Gutter  ©eift 

Unb  ruft  ber  yiafyt  uralten  Xod^tern  311: 
1055  nSafjt  nic^t  ben  SRuttermbrber  entflie^n! 

SBerfoIgt  ben  5Berbred?er!     @ud&  tft  er  getoeifyt!" 

<Sie  ^orcf>en  auf,  e§  fd^aut  i^r  ^o^Ie 

9ftit  ber  Segier  be§  2tblerg  urn  ficfy 

Sic  rii^ren  ficfy  in  i^ren  fcf>toarjen 
1060  Unb  au§  ben  2SinfeIn  fcfyleicfyen  i^re  ©efd^rten, 

3)er  Bioeifel  unb  bie  toe,  Iei§  I>erbei. 

3Sor  i^nen  fteigt  ein  3)am)jf  bom  2lc6,eron; 

3n  feinen  3BoIfenfreifen 

3)ie  etoige  Setrad^tung  be§ 
1065  S5ern)irrenb  um  be§  ©d^ulb'gen 

Unb  fie,  bered)tigt  jiim  SSerberben,  treten 

S)er  gottbefdten  @rbe  fd^onen  Soben, 

3Son  bem  ein  alter  ^lue^  fie  Icingft  berbanntc. 

2)en  gluc^tigen  berfolgt  ii>r  fc^netter  gu|; 
1070  Sie  geben  nur  um  neu  ju  ftfyredfen  Staft. 


fritter  2luf$ug.    (Srfter  Sttuftritt.  47 


gene. 

ttnfeliger,  bu  bift  in  gleidjem  gall, 

llnb  fiifylft  toa§  er,  ber  arme  $lucf)tling,  leibet! 

Dreft. 
2Ba£  fagft  bu  mir?  toa<3  toalmft  bu  gleicfyen 

3  p  fy  i  g  e  n  i  e. 

$)id?  briicft  ein  Srubermorb  nrie  jenen;  mir 
1075  3Sertraute  biefj  bein  jitngfter  Sruber  fc^on. 

Dreft. 

%$  lann  nic^t  leiben,  bajj  bu  gro^e  6eele 
3Jiit  einem  falfd^en  SSort  betrogen  tuerbeft. 
©in  liigenfyaft  ©etoebe  fnii^f  ein  $rember 
35em  ^remben,  finnreid^  unb  ber  Sift  getoofynt, 
1080     ur     aHe  i>or  bie 


3^  bin  Dreft!  unb  biefeS  fd^ulb'ge 

<Senlt  nad^  ber  ©rube  fid^  unb  fucfyt  ben  Xob; 

^n  jeglicfyer  ©eftalt  fei  er  iwiUfommen! 
1085  2Ber  bu  aud?  feift,  fo  n)iinfd^'  id?  Stettung  bir 

Unb  meinem  ^reunbe;  mir  h)iinfd9'  id)  fie  nid^t. 

2)u  fd^einft  fyier  toiber  SSiHen  ju  bertoeilen; 

©rfinbet  9latl)  jur  glud^t  unb  lajjt  mid?  ^)ier. 

6§  ftiirje  mein  entfeelter  Seib  bom  ^elg, 
1090  @§  raud^e  bi§  jum  Sfteer  ^inab  mein  33Iut, 

Unb  bringe  $Iud?  ^em  Ufer  ber  Sarbaren! 

©e^t  i^r,  bal)eim  im  fd^onen  ©ried^enlanb 

6tn  neuef  2eben  freunbUd?  anjufangen. 
((Sr  entfernt  ft(f».) 


$#*•»  anf  Xaniit. 


60  fcigfl  bn  bom,  erfufomg,  fa&nfke 
Ski  gr&j&ien  8*ta£,  enbl«$  ju  trar  mebor! 
9Bfe  •ffpf^rwrr  fU^t  torn  Silb  Mr  mir! 
ftoum  reid)t  man  Site!  bir  an  We  ^anbe,  bic 
unb  ®egcn§fran3«n  angefuttt 
§  DI^m§  rocbetfcringen. 

woo  fBie  MM  boi  £omg  an  ban  fibmna^ 

Xer  @a6en  knnt:  bam  i^rni  irai|  feeing  fc^etnm 
Stf  2aufaibai  fc^tm  9teu^um  ift;  fo  faint 
!Kan  as$,  i^r  ©otter,  an  gefparten,  long 
Unb  toetfe  juberetteten  ©eft^enlen. 

IMS  Xetm  i^t  affetn  teri^t  toaS  tin§  fromnten  fann, 
Unb  fa)ant  bet  3ulunft  au^gebe^nte§  9tei^, 
Sam  jebe^  »benb«  Stern^  unb  9*e&eU>uHe 
Xie  SJu^fw^t  un§  tKtbetft.    Oklaffen  ^ott 
3^r  unfct  gfle^n,  bad  urn  Sef^Ieunigung 

sno  Cu^  linbiftfc  Httet;  aber  cure  jganb 

Srkfrt  untetf  nie  bie  gofimai  £tmmefefru<$te; 
Unb  toe^e  bent,  ber  ungebulbig  fie 
Crtto|enb  faute  e^eife  fu^  yon  2ob 
Oknie^t.    D  (a£t  bad  lang  ertoartete, 

1115  $04  taunt  geba^te  ©lud  ni^t,  toie  ben  ©fatten 
XeS  abgefd>iebnen  grreunbeS,  eitel  mir 
Unb  breifa^  fd)merjli4er  boruberge^n  ! 

Creft  (tritt  nnebn  jn  i^r). 
3hif^  bu  bie  ©&ttet  an  fttr  bid)  nnb 
©o  name  metnen  ^arnen  ni^t  mi*  eurem. 
"»  3)u  retteft  ben  SBerbred;er  nia^t,  ju  ban 
$n  bi^  gefeOfl,  unb  tyetteft  §It4  unb 


fritter  Stofgug.    grfter  Sluftritt.  49 


•Kein  <Sd?icffal  ift  an  beineS  feft  gebunben. 

Dreft. 

3Jitt  nicbten  !     2afj  attetn  unb  unbegleitet 
3ftirf>  ju  ben  Sobten  gefyn.    SBerfmllteft  bu 

1125  $n  beinen  ©deleter  felbft  ben  ©djiulbigen; 
£>u  birgft  i^n  nid^t  bor'm  33  lie!  ber 
Unb  beine  ©egentoart,  bu  §immlifd;)e, 
2)rdngt  fie  nur  feittotirt3  unb  berfcf)eucf)t  fte  nicfyt. 
<3te  burfen  tnit  ben  et>rnen  freemen  gii^en 

1130  2)e§  fyeil'gen  2SaIbe^  Soben  nid^t  betreten; 
2)oc§  fyb'r'  i$  au^5  ber  £yerne  ^ier  unb  ba 
3^>r  grcifclicfyeS  ©eldd^tcr.     3Si)Ife  Barren 
<So  um  ben  Saum,  auf  ben  ein  9ieifenber 
<5i$  rettete.    ®a  braitfcen  tut>en  fie 

1135  ©elagert;  unb  berlaff  id^  biefen  §ainr 

£>ann  fteigen  fte,  bie  @cf)Iangenbdupter  frfwttehb, 
2Son  alien  ©eiten  ©taub  erregenb  auf 
Unb  treiben  ifyre  SBeute  bor  ftd;>  ^er. 

3  p  ^  i  g  e  n  i  e. 
£annft  bu,  Dreft,  ein  freunblicfy  9Bort 

Dreft. 
1140  ©par'  e$  fiir  einen  $reitnb  ber  ©otter  auf. 


@ie  geben  bir  ju  neuer  §offnung  Sid^t. 

Dreft. 

aucfy  unb  Qualm  feb'  i$  ben  matten 
Xobtenflufjed  mir  jur  ^»otte  leud^ten. 


50  3pf)igenie  auf  £auri«. 


$aft  bu  ©leftren,  (Sine  ©cfytoefter  mtr? 

Dreft. 

1145  $)ie  (Sine  fannt'  id};  bocb,  bie  dlt'fte  nafym 
%fo  gut  ©efcfyicf,  ba§  un§  fo  fcfyrecfticb,  fdjien, 
Set  $eiten  au^  bem  @Ien^  unfcrS  §aufe§. 
D  Ia^  bein  ^ragen,  tmb  gefette  bi^i 
9fJid^t  aud^  ju  ben  ©rinn^en;  fie  blafen 

1150  3Jiir  fd^abenfroE)  bie  2tfd^e  toon  ber  <3eele, 
Unb  leiben  nidj>t,  ba^  fid^  bie  le^ten  £ofylen 
SSon  unfer§  §aufe§  (Sc^redfen^branbe  ftitt 
^n  mir  Derglimmen.     ©off  bie  ©lutfy  benn  en)ig, 
SSorfd^Iic^  angefacfyt,  tnit  §6ffenfrf)h)efel 

1155  ©enab,rt,  mir  auf  ber  ©eele  marternb  brennen? 


S4  tiinge  fu^e^  9?auc&>erf  in  bie 
D  lajj  ben  reinen  §au(f)  ber  Siebe  bir 
®ie  ©lutb,  be§  23ufen§  leife  toe^enb  !ub,len. 
Dreft,  ntein  SC^eurer,  lannft  bu  nid^t  t>erneb,men? 

1160  §at  ba§  ©eleit  ber  6rf>rec!en3gotter  fo 
2)a§  56(ut  in  beinen  2lbern  aufgetrorfnet? 
•Sdpleid^t,  toie  bom  §au!pt  ber  grd^Itc^en  ©orgone, 
Serfteinernb  bir  ein  3au^er  bur$  ^e  ©lieber? 
D  tt)enn  bergoff'nen  9JiutterbIute§  ©timme 

"65  guv  §off'  b,inab  mit  bum^fen  ^onen  ruft; 
©off  nicfyt  ber  reinen  ©cfytoefter  ©egen§tt>ort 
§iilfreid;e  ©otter  Don  DltympuS  rufen? 

D  r  e  ft. 
@§  ruft!  e§  ruft!     ©o  toiffft  bu  mein  SSerberben! 


fritter  aufjug.    Stftcr  Sluftritt.  51 

SSerbtrgt  in  bir  fid;  eine  Stodjegottin? 
1170  2Ber  bift  bu,  beren  ©ttmme  mir  entfe^lidj 
3)a§  l^nnerfte  in  fetnen  !£iefen  toenbet? 

3pb,i  genie. 


63  jeigt  flc^  bir  tm  tiefften  ^erjen  an: 
Dreft,  id^>  bin'§!     <Si 
3c^  lebe! 

D  r  e  ft. 


3Jl«in  Srubcr! 

Dreft. 

2afj  ! 

XI75  3$  rat^e  bir,  berii^rc  nid;t  bte  2ocfen! 
2Bic  toon  Jlreufa'«  Srautfleib  jiinbet  fic^ 
(Sin  unau§Iofd)Iicf>  $euer  Don  mir  fort. 
2a^  mid?!    SBte  ^erculeg  toitt  id)  Uniourb'ger 
3)en  Xob  bott  <Sd;mad;,  in  mid;  berfdjlojfen,  fterben. 


1180  2)u  toirft  nid)t  untergeb,n!     D  bajj  id;  nur 
(Sin  ritfyig  2Sort  bon  bir  berne^men  fonnte! 
D  lofe  meine  3it)eifel/  lafj  be§  ©Iude§, 
35e§  lang  erflefyten,  mid;  aud;  ftd;er  tuerben. 
@3  toaljet  ftd;  ein  9tab  toon  $rettb'  unb  <Sd;merj 

1185   2)urd;  meine  <SeeIe.     3Son  bem  fremben  SRanne 
(Sntfernet  mid;  ein  <Sd;aiter;  bod;  e§  rei^t 
geh)altig  mid;  jum  33ruber. 


52  Spljigeitie  auf  £aiiri«. 

Dreft. 

2$  fyier  £b.aen§  £embel?  unb  ergreift 
Unbanbig4eil'ge  SBufy  bie  ^riefterin? 


1190  D  fyore  wricfy  I    D  fiefy  mtcfy  an,  tote  mir 
9tad?  einer  langen  3d*  ba£  §erj  fid^  opet, 
SDer  ©eliglcit,  bem  2ie&ften,  toa0  bie  SSelt 
5Jlod^  fiir  mic^  tragen  lann,  ba^  §au^t  ju  Juffm, 
5Kit  metneit  2lrmen,  bie  ben  leeren  2Binben 

1195  S^ur  au§gebreitet  toaren,  bid^  ju  faff  en! 

D  lafj  mid^I    2a^  mice)!    ®enn  e§  quiffet  ^ttet 
5Ri^t  bom  $arna$  bie  etorge  Duette  fprubflnb 
2Son  5?el§  511  gel*  inr&  golbne  3:^al  ^inab, 
2Bie  ^reube  ntir  bom  §erjen  toattenb  fliejjt, 

1200  Unb  toie  ein  felig  2tfeer  mtc^  ring*  umfdngt. 
Dreft!    Dreftr    3Jiein  Sruber! 

Dreft. 

Scfyb'ne 

3^9  traue  btr  unb  beinem  ©d^meid^eln  nid^t. 
2)iana  forbert  ftrenge  £>ienerinnen 
Unb  racket  ba£  enttwi^te  ^eiligt^um. 

1205  ©ntferne  beinen  2lrnt  bon  tneiner  Sruft! 
Unb  toenn  bu  einen  ^iingling  rettenb  liebett, 
S)a§  frf)5ne  ©Itttf  ifym  jartlic^  bieten  toittft, 
@o  toenbe  meinem  greunbe  bein  ©emu% 
£>em  toiirb'gem  ^Jlanne  ju.     @r  irrt  umfyer 

1210  2luf  jenem  ^elfenbfabe;  fuc^)'  ii?n  auf, 
SSeif  ifyn  jured^t  unb  fd)one  meiner. 


fritter  Sluftug.    grfter  Sluftritt.  53 


35id;,  33ruber,  unb  er!enne  bie  ©efunbne! 
<Sd;Ut  einer  <Sd;tt>efter  reine  §immel3freubc 
•ftidit  unbefonnene,  ftrafbare  2uft. 

1215  D  nefyntt  ben  SBafm  ifym  toon  bem  ftarren  2luge, 
2)a|  un§  ber  Slugenblirf  ber  i>od)ften  ^reube 
3fiid)t  bretfad)  elenb  tnad^e!     @ie  ift  fyter, 
2)ic  langft  berlornc  ©d^toefter.    SBom  2lltar 
9ti^  mid;  bie  ©ottin  toeg  unb  rettete 

1220  ^ierfyer  mid;  in  if>r  eigen  ^eiligtbum. 
©efangen  bift  bu,  bargeftettt  jum  D^fer, 
Unb  finbeft  in  ber  ^riefterin  bie  @d)tt»efter. 

Dreft. 

Unfelige!     <So  mag  bie  <3onne  benn 
2)ie  le^ten  ©rauel  unfer§  £aufe§  fe^n! 

1225  ^(t  nid;t  ©leftra  ^ier?  bamit  aud;  fie 
Wlit  itn€  ju  ©runbe  gef^e,  nid)t  i^r  2eben 
3u  fd;toererem  ©efd;ic!  unb  Seiben  frifte. 
©ut,  $riefterin!     ^d;  folge  §um  2lltar: 
3Der  Srubermorb  ift  i)ergebrad)te  <Sitte 

1230  £)e§  alten  <Stamme§;  unb  id;  banle,  ©otter, 
2)af;  if>r  mid;  ofyne  ^inber  au^jurotten 
S3efd;Ioffen  fyabt.    Unb  Ia^  bir  ratten,  fyabe 
35ie  ©onne  ntd;t  ju  lieb  unb  nid)t  bie  (Steme; 
$omm,  folge  mir  in'§  bunfle  ^Reid;  ^inab! 

1235  2Bie  fid;  bom  <5d;toefefyful;l  erjeugte  2)rad;en 
^efdm^fenb  bie  bertoanbte  33rut  berfd;Iingen, 
^erftbrt  fid;  felbft  ba§  tout^enbe  ©efd)Ied;t; 
!inberlol  unb  fd;ulblo^  mit  fyinab  ! 


54  3pl)igente  auf  SauriS. 

35u  ftefyft  mid)  mit  (grbarmen  an?    Safj  ab! 
1240  3ftit  folcfyen  33Ucfen  fucfyte  &fytamneftra 

<5t$  etnen  2Beg  nacfy  ifyreS  (SofyneS  Bergen; 

!Docfy  fein  gefcfytwtngner  2lrm  traf  ifyre  S3ruft. 

2)ie  Gutter  fiel!  —  Xritt  auf,  untwiH'ger  ©eift! 

$m  ^rei§  gefcf)Ioffen  tretet  an,  tfyr  ^urten, 
1245  Unb  too^net  bem  tmtttommnen  (Scf>auf|)iel  6ei, 

3)em  le^ten,  grd^Iid^ften,  ba^  iF)r  berettet! 

9tt$t  §a^  unb  9tacf)e  fdE)arfen  tfyren 

2)ie  Itebebotte  ©d^tocftcr  tmrb  jur 

©ejtoungen.    2Beine  ntcfyt!     2>u  ^aft  nid^t 
1250  (Sett  meinen  erften  l^afyren  fyab'  ic|  nid^tg 

©eliebt,  h?ie  id)  btcfy  Iteben  fonnte,  (Sd^toefte 

$a,  fc^toinge  beinen  ©ta^I,  berfd>one  nicfyt, 

3errci^e  btefen  S3ufen,  unb  eroffne 

2)en  ©tromen  bie  f>ier  fieben  einen  2Beg  ! 
(gr  ftnft  in  (Srmattimg.) 


1255  3lttein  ju  tragen  biefe^  ©ludf  unb  @lenb 
35ermag  ic^  nid^t.  —  2Bo  bift  bu,  ^Iabe« 
2Bo  finb'  id)  beine  ^iilfe,  tfyeurer  3Jlann? 
(@le  entfernt  ftcf)  fitcfjenb.) 


2luftritt. 

Dreft 

(au«  feiner  SBetaubung  erttia(f)enb  unb  ftc^  cmfridjtenb). 
9iod^  @inen!  reid^e  mir  au§  Set{>e'g  ^lut^en 
2)en  le^ten  fufylen  Seeder  ber  ©rquidcung! 


Sritter  Slufjug.    3roeiter  Sluftritt.  55 


1260  SBalb  ift  ber  $rampf  be£  2eben§  au§  bent  33ufen 

§tntoeggefpult;  balb  fliejjet  ftttt  mein  ©eift, 

2)er  Ditette  be§  SSergeffenS  fyingegeben, 

3u  eudj>,  ifyr  ©fatten,  in  bie  eft  'gen  9kbel. 

©efdflig  lafct  in  eurer  9iu^e  fic^ 
1265  &en  umgetriebnen  (Sol>n  ber  Grbe  laben!  — 
ein  ©elifpel  i)5r'  id^)  in  ben  3toei9en/ 
ein  ©eraufcf)  au§  jener  SDammrung  fdufeln?  — 

@ie  lommen  fc^on,  ben  neuen  ©aft  ju  fe^n! 

2Ber  ift  bie  ©rfjaar,  bie  i)err[ic^  mit  einanber 
1270  2Bie  ein  berfammelt  5"rften^au^  fi$  freut? 

<3ie  gef>en  frieblid^,  2llt'  unb  ^unge,  2Rcinner 

3Kit  3Betbern;  gotterglei^)  unb  d^nlicb,  fd^einen 

3)ie  iranbelnben  ©eftalten.     ^a,  fie  finb'3, 

2)ie  2ti>n^erm  meine§  §aufe§!  —  3Jlit  3:^eften 
1275  ©e^t  3ltreu§  in  bertraulidjen  ©efprdd^en; 

S)ie  $naben  fd^Iii^fen  fc^erjenb  urn  fie  fyer. 

Sft  feine  ^einbfcf^aft  ^)ier  mefyr  unter  eud^? 

SSerlofd?  bie  9f*arf)e  toie  ba^  Sic^t  ber  ©onne? 

<So  bin  auc^)  ic()  nnHfommen,  unb  ic^)  barf 
1280  ^n  euern  feierli<f)en  3U9  m^  ntifdjen. 

SSillfommen,  SSdter!  eud^  grii^t  Dreft, 

SSon  euerm  <Stamme  ber  letjte  2Rann; 

2Ba§  i^r  gefd't,  fyat  er  geemtet: 

SJiit  ^luc^)  belaben  ftieg  er  fyerab, 
1285  2)ocft,  leia^ter  trd'get  fief)  ^ter  jebe  Siirbe: 

9^e^)mt  ib,n,  o  nefymt  i^n  in  euern 

SDicfy,  2ltreu§,  ef>r'  ia),  aitcb,  bid? 

SSir  fmb  b,ier  atte  ber  geinbfcf;aft  log.  — 

$eigt  mir  ben  SSater,  ben  icb,  nur  ©inmal 
1290  ^m  2eben  fa^!  —  S3ift  bu%  mein  SSater? 


56  3pf)igenie  auf 

Unb  fitfyrft  bie  9Jlutter  bertraut  mit  bit? 
£)arf  $lr/tamneftra  bie  §anb  bir  reicfyen; 
<3o  barf  Dreft  aucfy  gu  ib,r  treten 
Unb  barf  ifyr  fagen:  fiefy  beinen  <Sof>n!  — 

1295  @ei>t  euern  €>ofyn !    §ei^t  t^n  totHfommen. 
2luf  Srben  tear  in  unferm  £>aufe 
3)er  ©ru^  be§  3Jiorbeg  getoiffe  Sofung, 
Unb  ba§  ©efc^Ied^t  be!  alien  StantaluS 
§at  feine  $reitben  jenfeits  ber  ^Jiad^t. 

^oo  Sfy*  tuft:  2Bittfommen!  unb  nei>mt  micfy  auf! 
D  fii^rt  gum  2llten,  gum  2t^ni)errn  mid^! 
2Bo  ift  ber  Slltc?  ba^  id^  ifyn  fe^e, 
2)a§  t^eure  §au^t,  ba§  i)iel»ere^rte, 
2)a§  mit  ben  ©ottern  gu  3ftatl>e  fa|. 

1305  £$*  fc^eint  ju  jaubern,  eud^  toegjutoenben? 
SSag  ift  eg?  leibet  ber  ©bttergleic^e? 
2Be^  mir!  e§  fyaben  bie  Ubermad)t'gen 
5Der  ^elbenbruft  graufame  Dualen 
2Jlit  e^rnen  ^etten  feft  aufgefcfymiebet. 


Dritter  ^uftritt. 
Dreft. 


D  r  e  ft. 

1310  ©eib  ifyr  aud^  fd^on  ^erabgefommen? 

2Bo^I  ©d&toefter  bir!    ^od?  fc^It  ©leltra: 
@in  giit'ger  ©ott  fenb'  ung  bie  (Sine 
3Kit  fanften  «PfeiIen  aud?  fd^nett  ^erab. 


SDritter  3lufjug.    fritter  Sluftritt.  57 

2)tcfy,  armer  $reunb,  muji  irf>  bebauern  ! 
1315  $omm  mit!  fomm  mtt!  ju  $Iuto'3  £b,ron, 
2U§  neue  ©afte  ben  2Btrt^  311  griijjen. 

3  pb,  i  genie. 

©efdjtoifter,  bie  ifyr  an  bem  toeiten  ^immet 
SDa§  f4)5ne  Sicfyt  bei  Xag  unb  5iaci)t  fyerauf 
35en  9Jienfd^en  bringet,  unb  ben  Slbgefd^iebnen 

1320  5fiid^t  leud^ten  biirfet,  rettet  un§  ©efd^toifter! 
2)u  Itebft,  ®iane,  betnen  i>olben  33ruber 
3Sor  attem,  h?a§  bir  Srb'  unb  £immel  bietet, 
Unb  toenbeft  bein  jungfraulirf)  Slngeft^t 
9la<fy  feinem  eto'gen  £t(f)te  fe^nenb  ftitt. 

1325  D  lajj  ben  einj'gen  <S!patgefunbnen  tnir 

yiifyt  in  ber  ^infterni^  be§  2Baf)nfinn^  rafen! 
Unb  ift  bein  SBitte,  ba  bu  ^ter  mid)  bargft, 
9?unme^r  bottenbet,  toiUft  bu  tnir  burcfy  i^n 
Unb  ib/m  burd()  micb,  bie  fel'ge  £iilfe  geben; 

1330  (So  Ibf  ib,n  toon  ben  Sanben  jeneg 
2)a^  nid^t  bie  tb,eure  3eit  ber  Stettung 


(Srlennft  bu  un§  unb  biefen  b,eil'gen  §ain 
Unb  biefe§  2icb,t,  ba§  nic^t  ben  3Tobten  leuc^tet? 
$ub,lft  bu  ben  Slrm  be§  greunbeS  unb  ber  ©d^ioefter, 

1335  SDie  bicb,  nod^  feft,  nod^  lebenb  b,  alien?    ^a^ 
Un§  !rdftig  an;  toir  finb  nicb,t  leere  ©fatten. 
3Jierf  auf  tnein  2Bort!    Skrnimm  eg!    9taffe  bicb, 
3ufammen!     ^eber  2lugenblid;  ift  tijeuer, 
Unb  unfre  ^iicEfe^r  b,angt  an  garten  gaben, 

1340  S)ie,  fd;>eint  e^,  eine  gunft'ge  ^parje  f^innt. 


58  3p!)igenie  auf  £cmri«. 

D  r  e  ft  (ju  Spljigenien). 

2afj  micb,  jum  ©rftenmal  mit  freiem  §erjen 
^n  beinen  2lrmen  reine  $reube  fyaben! 
3$r  ©otter,  bie  mit  flammenber  ©etoalt 
Sjfyr  fcfytoere  SBolfen  aufjujefyren  toanbelt, 

1345  Unb  gnabtg=ernft  ben  lang  erflef)ten  3tegen 
2Kit  2)onner(timmen  unb  mtt  9Binbe§braufen 
^n  toilben  ©trotnen  auf  bie  @rbe  fc^iittet, 
2>oc^  balb  ber  5Renfrf>en  graufenbeS  ©rtoarten 
^n  ©egen  auflof't  unb  ba§  bange  ©taunen 

1350  3n  $reubeHu!  unb  lauten  ®anf  bertuanbelt, 
SBenn  in  ben  3:ro^fen  frifd^erquidter  flatter 
2)ie  neue  ©onne  taufenbfad^  ficfy  f^iegelt, 
Unb  ^ri§  freunbltcf>  bunt  mtt  leidjter  §anb 
®en  grauen  $lor  b«  le^ten  SSoIfen  trennt; 

1355  D  lafjt  mid)  aucfy  in  meiner  <SdE)h)efter  2lrmen, 
2ln  meine§  ^reunbe§  S3ruft,  h)a§  ifyr  mir  gonnt 
3Jiit  boHem  2)anf  genie^en  unb  bef)alten. 
@«  Tofet  ftc^i  ber  ^lud^,  mir  fagt'S  ba§  §erj. 
3)ie  ©umeniben  jieljm,  id^  E>ore  fte, 

I3fc>  3um  XottaruS  unb  fc^Iagen  b,inter  ficfy 
®ie  e^rnen  2;^ore  fernabbonnernb  ju. 
35ie  @rbe  bam^ft  erquidfenben  ©erudf1 
Unb  labet  mid^  auf  ifyren  ^lad^en  etn, 

Seben^freub'  unb  grofjer  3:^at  ju  jagcn. 


1365  SSerfaumt  bie  3«t  nicfyt,  bie  gemeffen  ift! 
2)er  S&inb  ber  unfre  <5egel  fd^toeat,  er  bringe 
@rft  unfre  botte  greube  jum  Dl^m^). 
^ommt!     @g  bebarf  b,ier  fd^netten  9lat^  unb  @c&,Iujj. 


(Erftcr  atuftrttt. 

3  $  $  i  g  e  n  i  e. 

$)enfen  bie  ^immlifdjen 
1370  @inem  ber  ©rbgebornen 

SStele  23erh)immgen  ju, 

Unb  beretten  fie  ifym 

SSon  ber  greube  ju  <Sd)merjen 

Unb  toon  (Scfttnerjen  jur  ^reube 
1375  5tief*erfd)utternben  Ubergang; 

$)ann  erjte^en  fie  i^m 

^n  ber  9*ab,e  ber  ©tabt, 

Dber  am  fernen  ©eftabe, 

®a^  in  Stunben  ber  ^ot^> 
1380  2Iu^  bie  §iilfe  bereit  fei, 

©inen  rufyigen  ^reunb. 

D  fegnet,  ©otter,  unfern  ^labeS 

Unb  h>a§  er  immer  unternei)men  mag! 

@r  ift  ber  3Irm  be^  ^iinglingS  in  ber  ©cfyladjt, 
1385  2)e§  ©reife^  leucfytenb  3lug'  in  ber  SSerfammlung : 

$enn  feine  ©eel'  ift  ftiEe;  fie  betoafyrt 

3)er  5Ruf)e  b.eil'geg  imerfcfyb'pfteS  ©ut, 

Unb  ben  Umb,ergetriebnen  reidjet  er 

2lu§  i^ren  2;iefen  Slaty  unb  $ftlfe. 


60  Spfyigenie  auf  £auri«. 

1390  ftfy  er  toom  Sruber  Io3;  ben  ftaunt'  id)  an 
Unb  immer  hrieber  an,  unb  fonnte  tnir 
$)a§  ©luc!  nicfyt  eigen  mad)en,  lief}  ifm  nid)t 
2lu3  meinen  2lrmen  Io§,  unb  fufylte  nid)t 
$)ie  SRdfye  ber  ©efafyr  bie  un§  umgibt. 

1395  3e|t  04n  |ie  i^ren  3lnfrf)Iag  au^ufufjren 

2)er  <5ee  ju,  loo  ba§  <3cf)iff  mtt  ben  ©efd^rten 
^n  einer  33it$t  berftecEt  auf'8  Be^en  fouert, 
Unb  f>aben  fluge§  2Bort  mtr  in  ben  SJiunb 
©egeben,  micfy  gete^rt  h)a§  id^  bem 

1400  ^ntiDorte,  ioenn  er  fenbet  unb  ba3 

9Kir  bringenber  gebietet.    2ld^!  id^  fe^e  tool?!, 
3^  mu^  mid^  letten  laffen  trie  ein  ^inb. 
3d5>  fyabe  nid^t  gelernt  gu  ^inter^alten 
yiofy  jemanb  ettoa§  abjuliften.    2Bef>! 

1405  D  toeb,  ber  2iige!    @ie  befreiet  nid^t, 
3Bie  jebe§  anbre  toafyrgefprocfwe  2Bort, 
2)ie  33ruft;  fie  macfyt  un§  nidjt  getroft,  fie  angftet 
35en,  ber  fie  I) eimlid)  fdgmiebet,  unb  fie  fefyrt, 
(Sin  Io§gebrud;ter  ^feil,  toon  einem  ©otte 

1410  ©eJDenbet  unb  berfagenb,  fid)  juriid; 

Unb  trifft  ben  6cfe,u£en.    @org'  auf  Sorge  fcfytoanft 
3Kir  burd?  bie  Sruft.    @3  greift  bie  ^urie 
SSietteid^t  ben  23ruber  auf  bem  Soben  loieber 
2)e§  ungetoei^ten  Ufer§  grimntig  an. 

1415  ©ntbecft  man  fie  bictteid^t?    5)tid)  biinlt,  id)  ^ore 
©etoaffnete  fid)  nab,  en  !  —  £ier!  —  2)er  Sote 
^ommt  toon  bem  $ontge  mit  fd^nettem  ©d^ritt, 
@§  fdr)Idgt  mein  §erj,  e§  triibt  fid)  meine  (Seele, 
SDa  id)  be§  Cannes  2tngefid)t  erblicfe, 

1420  2)em  id)  mit  falfcfyem  SSort  begegnen  fott. 


SSierter  lufaug.    ^wetter  Stuftritt.  61 

2luftrttt. 


SlrfaS. 

SBefdfyleunige  ba§  Dpfer,  ^riefterin! 
®er  £onig  toartet  unb  e§  fyarrt  ba§  2?olf. 

3  ^)  ^  i  g  e  n  t  e. 

$d)  folgte  metner  ^Pfltc^t  unb  beinem  2Binf, 
9Benn  unbermut^et  nicfyt  ein  ^tnberni^ 
1425  <Si^>  jttnfcfyen  mic^  unb  bie  ©rfuttung  ftettte. 


ift'§,  ba§  ben  Sefefyl  be§  ^onig§  I>inbert? 

^pfyigenie. 
«ffltt,  beffen  h)ir  nicfyt  SJleifter  finb. 


<So  fage  mir'S,  ba^  id^'§  if>m  fdjwett  Dermelbe: 
2)enn  er  befd^Io^  bei  fi(^  ber  beiben  ^ob. 


1430  3)tc  ©otter  ^aben  ifyn  nodE>  nid^t  befd)Ioffen. 
2)er  alt'fte  biefer  banner  tragt  bie  ©cfyulb 
S)e§  naf>tierh)anbten  Slutg,  ba§  er  bergof;. 
3)ie  ^urien  berfolgen  feinen  ^fab, 
%a  in  bem  innern  ^empel  fa^te  felbft 

1435  £)a§  libel  i^n,  unb  feine  ©egentoart 
(Snt^eiligte  bie  reine  ©tcitte.    9Jun 
®iP  icf>  mit  meinen  ^ungfraun,  an  bem  SJieere 
2)er  ©ottin  S3tlb  mit  frifrfjer  2Bette  ne^enb, 


auf  £auri«. 


©efyeimnijjtoolle  2Seib,e  ju  begeb,n. 
1440  ©§  ftore  niemanb  unfern  ftitten 


melbe  biefe§  neue  £inbernijj 
$dnige  gefdjtoinb;  beginnc  bu 
^eil'ge  SSerf  ntd^t  eb,'  bt§  er'§  crlaubt. 


i(t  aUein  ber  ^Brieftrin  iiberlaffen. 


1445  @ol^  feltnen  gatt  fott  aucfy  ber  ^onig  hriffen. 

3^b,  igcnie. 
6ein  9tatb,  tote  fein  Sefeb,!  berdnbert 


Dft  toirb  ber  3Jlad^tige  jum  6cb,etn  gefragt. 

3^b,  i  genie. 
©rbringe  ntcfyt,  ioa§  icb,  berfagen  fottte. 

aria*. 
Serfage  mcfyt,  toa^  gut  unb  nii^Iicb,  tft. 


1450  ^(b,  gebe  nad^,  tcenn  bu  nicb,t  faumen  toiffft. 


bin  icb,  mit  ber  9tad^ricb,t  in  bem  Sager, 
Unb  fcfynett  mit  feinen  2Borten  fyier  juriidf. 
D  lonnt'  icb,  ib,m  nod^  etne  33otfcb,aft  bringen, 
2)ie  atte§  lof'te,  toa§  un§  je^t  bern)irrt: 
1455  2)enn  bu  b,aft  nid^t  be§  Xreuen  9tatb,  gead^tet. 


iBierter  lufjitg.    3»eiter  ?Iuftritt.  63 


ene. 
icfo,  toermocfyte,  b,ab'  icfy  gern  getfyan. 


Sftocb,  anberft  bu  ben  ©inn  jur  recfyten  $eit. 

3^f>igente. 
3)a§  fte^t  nun  einmal  nt^t  in  unfrer  3Jiad^t. 

«rfa«, 
25u  fyaltft  unmoglic^,  it>a§  bir  SJiii^e  foftet. 

^))^igenie. 
®ir  fd^eint  e$  moglid^,  tt>eil  ber  2Sunfci)  bicfy  triigt. 

2trla§. 
SBittft  bu  benn  aHeS  fo  gelaffen  toagen? 

Spfyigenie. 
^d?  i>ab'  e«  in  ber  ©otter  §anb  gelegt. 

2lrfa§. 
<5ie  pflegen  SJlenfd^en  ntenfd§Iid9  ju  emtten. 

3^^i0««ie. 
3tuf  i^ren  ^ingergeig  Ibmmt  atte§  an. 


1465  l^cfy  fage  bir,  e§  liegt  in  beiner  £>anb. 
2)e^  ^6nig§  aufgebracfyter  (Sinn  attein 
S3ereitet  biefen  ^remben  bittern  ^ob. 
2)a§  §eer  enttoofynte  langfi  bom  b,artcn  D^fer 
Unb  bon  bem  blut'gen  2)ienfte  fein  ©emutij). 

1470  %a,  manner,  ben  ein  toibrigeS  ©efd^ic! 
2ln  frembeS  Ufer  trug,  emtofanb  el  felbft, 


64  3pl)igenie  auf  j£aitri«. 

2Bie  gottergleirf)  bem  armen  ^rrenben, 
Umfyergetrieben  an  bev  fremben  ©ranjc, 
©in  freunbUd?  3Jtenfd;enangefid;t  begegnet. 

1475  D  toenbe  nirf)t  toon  un§  toa§  bit  bermagft! 
3)u  enbeft  Icid^t  toa§  bu  begonnen  ^aft: 
®enn  ntrgenb^  baut  bie  SRilbe,  bie  fyerab 
^n  tnenfd>Itc^er  ©eftalt  bom  §immel  fommt, 
©in  9iei^  ftd^)  fd&netter,  al§  too  triib  unb  imlb 

1480  ©in  neueg  Soil,  bott  Seben,  3JiutI)  unb  Kraft, 
©icb,  felbft  unb  banger  ^^nung  iiberlaffen, 
2)e§  9Kenfd^enIeben§  fd^toere  Siirben  tra'gt. 

3  to  ^  i  g  e  n  i  e. 

©rfcfyiittre  tneine  ©eele  nirfjt,  bie  bu 

beinem  -ESitten  nid^t  betoegen  fannft. 


1485  @o  long  e§  3e^  if*/  fc^ont  man  toeber 
guten 


S^^i  genie. 

2)u  mad(>ft  bir  SRitb,  unb  mir  erregft  bu 
SSergeben^  beibeS  :  barum  Ia^  mid)  nun. 


3)ie  ©d^merjen  finb'g,  bie  id;  ju  §iilfe  rufe 
149°  £>enn  e^  finb  ^reunbe,  ©ute§  ratten  fie. 


e  n  e. 

@ie  fajfen  meine  ©eele  tnit  ©etualt, 
tilgen  fie  ben  S&ibertoiUen  nid^t. 


SSiecter  Slufeiifl.    S)ritter  Sluftritt  65 


cine  fdfyone  ©eele  SBiberhnllen 
eine  2BofyUtyat,  bic  ber  @ble  reidjt? 


H95  3a/  toenn  ber  @ble,  toa$  ficfy  nid^t  gejiemt, 
(Statt  meineg  SDanfeS  mid?  ertoerben  toiU. 


2Ber  feine  ^eigung  fii^It,  bent  mangelt 
2ln  cinem  2Borte  ber  Gsntfcfyulb'gung  nie. 
35em  ^urften  fag'  idj  an,  toa€  ^ier 
1500  D  n)ieberE)oIteft  bu  in  beiner  <Seele, 
2Bie  ebel  er  ficfy  gegen  bid§  betrug 
33on  beiner  Slnfunft  an  bi§  biefen 


Dritter  2luftritt 

S^^igenie  (aUein). 
3Son  biefe«  Cannes  9lebe  fityP  109  mir 


3ur  ungelegnen  3«it  ba§  §erj  im  Sufen 
1505  2luf  einmal  umgetoenbet.    ^36^  erfrfjrecfe  !  — 

2)enn  tuie  bie  glutfy  mit  fd^neffen  ©tromen  toadjfenb 
S)ie  ^elfen  iiberf^iilt,  bie  in  bem  <3anb 
.  2lm  Ufer  licgen:  fo  beberfte  ganj 

(Sin  ^"b^jfr001  m^n  Snnerf^^-    3^  fato 
1510  ^n  meinen  2lrmen  ba§  Unmoglic^e. 
6^  fc^ien  fid^  eine  SSotfe  n)ieber  fanft 
Um  micfy  ju  legen,  bon  ber  @rbe  mic^ 

ju  ^>eben  unb  in  jenen  Sd^Iummer 


34  Spljigente  auf  2ouri«. 


einjutm'egen,  ben  bie  gute  ©ottin 

1515  Urn  meine  @$lafe  legte,  ba  ifyr  2lrm 
3Ki<$  rettenb  fafjte.  —  9fteinen  SBruber 
©rgrijf  bag  §erj  mit  einjiger  ©etoalt: 
3$  ^ord^te  nur  auf  feine§  $reunb 
9?ur  fie  ju  retten  brang  bie  ©eele  borit)art3. 

1520  Unb  it)ie  ben  ^li^^en  einer  toitften  ^nfel 
S)et  (Sniffer  gern  ben  ^itdfen  rtenbet:  fo 
Sag  XauriS  ^inter  mir.    9iun  fyat  bie  ©timmc 
2)e§  treuen  SJtannS  mic^  h)ieber  aufgetredEt, 
2)a^  icfy  aud^  SJienfc^en  ^ter  berlaffe,  micfy 

1525  ©rinnert.    2)o^!j)elt  toirb  tnir  ber  Setrug 
SSer^t.    D  bleibe  ru^ig,  meine  6eele! 
Seginnft  bu  nun  ju  fd^toanfen  unb  ju  jtoeifeln? 
3)en  feften  Soben  beiner  Gjinfamfeit 
gjlu^t  bu  berlaffen!  toieber  eingefd^ifft 

1530  ©rgreifen  bid^  bie  SBetten  fd^aufelnb,  tritb 
Unb  bang  fcerfenneft  bu  bie  2BeIt  unb  bidj. 


t)tertcr  ituftrttt. 
i  genie.    ^3^  lab  eg. 


SBo  ift  fte?  bafc  id?  i^r  mit  fd^neaen  2Borten 
3)ie  fro^e  iBotfd^aft  unfrer  Sftettung  bringe  ! 


S)u  fiefyft  mid^  E>ier  bott  ©orgen  unb  ©rtoartung 
1535  S)e§  fid^ern  £rofte§,  ben  bu  mir  berf^rid^ft. 


SBterter  Slufeug.    SBierter  SCitftritt.  67 


£)ein  Sruber  ift  gefyeilt  !     £>en  $elfenboben 
SDeS  ungetoeifyten  Ufer§  unb  ben  <5anb 
SBetraten  fair  mit  frdfylicfcen  ©efpracfyen  ; 
35er  £ain  blieb  fyinter  un3,  fair  merften'3  nid^t. 

1540  Unb  fyerrlidjer  unb  immer  f)errlidf)er 
Umloberte  ber  ^ugenb  fd^one  glamme 
@ein  locfig  §aupt;  fein  boHe§  2luge  gliifyte 
2Son  3JlutE>  unb  §offnung,  unb  fein  freteS  §erj 
(Srgab  ficfy  ganj  ber  ^reube,  gang  ber  Suft, 

1545  2)td9,  feine  Sietterin,  unb  mid^  ju  retten. 


©efegnet  feift  bu,  unb  e§  moge  nie 

SSon  beiner  2type,  bie  fo  ©ute§ 

3)er  ^on  be§  2eiben§  unb  ber  $Iage  tonen! 


%fy  fcrtnge  me^r  al§  ba§;  benn  fcfyon  begleitet; 

1550  ©Ieid§  einem  ^iirften,  ^)flegt  bag  ©liirf  ju  nafyn. 
3lud^  bie  ©efa^rten  ^aben  ttrir  gefunben. 
^n  einer  ^elfenbud^t  berbargen  fie 
3)aS  ©c^iff  unb  fajjen  traurig  unb  erioartenb. 
@te  fafyen  beinen  SBruber,  unb  e§  regten 

»555  @ic^  atte  joud^jenb,  unb  fie  baten  bringenb 
S5er  Slbfa^rt  ©tunbe  ju  befd^Ieunigen. 
@§  fefynet  jebe  gauft  ftd^  na^  bem  9luber, 
Unb  felbft  ein  2Binb  er^ob  bom  Sanbe  lifpelnb, 
SSon  atten  gleic^  bemerft,  bie  fyolben  ©d^loingen. 

1560  3)rum  Ia^  un§  eilen,  fii^re  mid^  jum 
betreten,  Ia 


3pf)tgenie  ouf 

unfrer  2Biinfcb,e  giel  berefyrenb  faffen. 
3$  bin  aHein  genug,  ber  ©bttin  33ilb 
2luf  iwob,!  geubten  ©dmltern  toegjutragen  ; 
1565   -JBie  fefyn'  icfy  mid)  nad)  ber  ertoiinfcfyten  Soft! 

(@r  ge^t  gegen  ben  £empel  unter  ben  te^ten  SSorten,  oljne  ju  bemerfen, 
ba§  S^igenie  nici)t  fotgt  ;  enbtid)  fe^rt  er  ftdj  itnt.) 

©u  ftel)ft  unb  jauberft  —  ©age  mir  —  ©u  fd^tocigft! 
3)u  fd^einft  bertoorren!     2Biberfe^et  fid^ 
@in  neue§  Unfyeil  unferm  ©IM?    Sag'  an! 
£aft  bit  bem  ^onige  ba§  Huge  9Bort 
1570  SSermelben  lafjen,  ba£  toir  abgerebet? 


3^1  fyabe,  tlieurer  9Jlann;  boc^  toirft  bu  fdjeltcn. 
@in  fd^ioeigenber  SSertweiS  toar  mir  bein  3ln6Iid. 
3)e§  $onig§  33ote  fam,  unb  icie  bu  e§ 
3Jltr  in  ben  9Jhmb  gelegt,  fo  fagt'  id^'g  ifym. 
*57s  @r  fd^ien  ju  ftaunen,  unb  berlangte  bringenb 
2)ie  feline  $eier  erft  bem  ^onige 
3u  melben,  feinen  2Bitten  ju  bernefymen  ; 
Unb  nun  ertoart'  id^  feine  SSieberlefyr. 

^  v  I  a  b  e  3. 

9$efy  un§!    ©rneuert  fd^toebt  nun  bie  ©efafyr 
1580  Um  unfre  ©c^Iafe!    2Barum  ^aft  bu  nid^t 

einge^iittt? 


2113  eine  £uHe  E>ab'  id?  '3  nie  gebraucb,t. 


SSierter  Slufjug.    2>ierter  Stuftritt  69 


<5o  toirft  bu,  reine  (Seele,  bicb,  unb  un§ 

$u  ©runbe  ricfyten.    28arum  bacfyt'  idfy  nicfyt 

1585  3tuf  biefen  $aU  borau§,  unb  lefyrte  bicfe, 
btefer  ^orbrung 


•Jlur  mic^,  bte  ©d^ulb  ift  mein,  id)  fii^I'  e§  too^I; 
2)ocfy  fonnt'  id)  anber§  nic^t  bem  9)iann  begegnen, 
S)er  mit  SSernunft  unb  ©rnft  toon  mir  berlangte, 
1590  2Sa§  i^m  mein  £er$  al§  9tedE)t  gefte^en  mu^te. 

$  i?  I  a  b  e  3. 

©efafyrlicfyer  jie^t  fid^'g  jufammen;  bod^  aud9  fo 
2a^  un3  nid^t  jagen,  ober  unbefonnen 
Unb  iibereilt  ung  felbft  berratf^en.    Stufyig 
(Srtoarte  bu  bte  2Bieber!unft  be§  Soten, 

1595  Unb  bann  fiefy  feft,  er  bringe  h)a§  er  twU: 
2)enn  folder  SBei^ung  $eter  anjuorbnen 
©e^ort  ber  ^Srieftertn  unb  nicfyt  bem  ^onig. 
Unb  forbert  er  ben  fremben  9Jiann  ju  feb,n, 
2)er  toon  bem  -JBafynfinn  [cf)h)er  belaftet  ift; 

1600  @o  lefyn'  e§  ab,  al§  fyielteft  bu  un§  beibe 

3m  £empel  toDi)I  bertoab.rt.    @o  fcf)aff'  un§  Suft, 
2)a^  h)ir  auf'g  eiligfte,  ben  fyeil'gen  <3d^a| 
35em  raub,  untuiirb'gen  33olf  enttoenbenb,  flie^n. 
2)ie  beften  3e^en  f^nbet  un^  2fyoH, 

1605  Unb,  e^'  h)ir  bie  Sebingung  fromm  erfiiUen, 
©rfiittt  er  gottlicfc,  fetn  SSerf^rec^en  fd^on. 
Dreft  ift  frei,  ge^eilt!  —  3Jiit  bem  Sefreiten 


70  SWgenie  auf  2anri8. 

D  f  fib.  ret  un$  b,infiber,  gfinft'ge  2Binbe, 

3ur  gelfen^nfel  bic  ber  ©ott  beh>ob,nt; 
1610  2)ann  nacb,  3Jtycen,  bajj  e§  lebcnbig  toerbe, 

$afi  toon  bet  2lfae  be£  toerlofcb,nen  §erbeS 

3>ie  SSatcrgottcr  fro^Iic^  f«^  erb.eben, 

Unb  f(^onc§  ^cucr  i^re  2Bob,nungen 

Umleu^te!     2)etne  §anb  foU  tynen  SGBcibrau^ 
»6ls  3uerf*  au^  golbnen  <S(^aIcn  ftrcuen.    2)u 

Sringfl  fiber  jenc  ©tb,toette  ^cil  unb  2cben  toicber, 
ben  gluc^  unb  f<6,mu<feft  ncu  bic  35cincn 
2cben§blutb,cn 


(^  bic^,  fo  toenbet  fi4>,  o 
1620  2Bic  ftt^  bic  33Iumc  nat^  bcr  ©onne  tocnbct, 
2)ie  ©ecle,  toon  bent  ©trable  betner  3Borte 
©etroffen,  fi(^  bent  fu|en  ^rofte  nacfy. 
SBte  toftlid)  ift  be§  gegenhmrt'gen  greunbeg 
©etoijye  9lebe,  beren  £immel§fraft 
1625  gin  ©infamer  entbe^rt  unb  ftitt  berfinlt. 

3)enn  langfom  reift,  berfc^Iojfen  in  bent  SSufen, 
©ebanf  ib,m  unb  ©ntfAlu^;  bie  ©egentoart 
35e§  2iebenben  enttoidEelte  fte  Ieicb.t. 


2eb'  toob,!!    25ie  ^reunbe  tottt  i^  nun  gef^toinb 
1630  Serub/igen,  bie  feb,nlic^  toartenb  Barren. 

2)ann  lomm'  i(^  f^nett  juriuf  unb  Iauf(^e  b,ier 
3m  gelfenbuf  $  berftetft  auf  beinen  2Bin!  — 
SSa§  ftnneft  bu?    2luf  einmal  uberf^toebt 
©in  fli0er  Srauerjug  bie  fteie  ©tirne. 


93tert«  *uf$ug.    Alerter  Stuftritt.  71 


1635  SSerjeil)!    2Bie  leid)te  2BoIlen  bor  ber  ©onne, 
@o  jiefyt  mir  bor  ber  <5eele  leidjte  (gorge 
Unb  SBangtgfeit  boriiber. 

$  9  1  a  b  «  S. 

gttr^te  nic^t! 

SBetriigltrf)  fcfylofe  bte  gurc^t  mit  ber  ©efafyr 
(Sin  enge^  33unbni|;  beibe  |inb  ©efetten. 


1640  2)ie  <Sorge  nenn'  ic^)  ebel,  bie  mid)  toarnt, 
2)en  ^onig,  ber  mein  jtoeiter  SSater  tnarb, 
5iid)t  tiicfifd)  ju  betriigen,  ju  berauben. 


35er  beinen  33ruber  fd^Iadbtet,  bent  entfliefyft  bu. 

^5bi)igenie. 
@«  ift  berfelbe,  ber  mir  ©ute§  ttyat. 


1645  2)a«  ift  nicfyt  Unbanf,  h>a§  bie  5fiot^  gebeut. 

^bljigenie. 
6§  bleibt  too^I  Unbanf;  nur  bie  «Rot^  entfd)ulbigt. 


3Sor  ©ottem  unb  bor  9ftenfd)en  bid)  geiui 

^b^igenie. 
2lttein  mein  eigen  £erj  ift  nid;t  befriebigt. 

^S^Iabeg. 
3u  ftrenge  gorbrung  ift  berborgner 


72  Sptyigenie  auf  2auri«. 

$pb,i  genie. 
1650  3$  tmterfucfye  nirfjt,  icfy  fityle  nur. 


pb,Ift  hi  bicfc,  recb,t,  fo  mujjt  hi  bic$  »ereb,ren. 

$pb,igenie. 
©anj  unbefkdt  geniefct  fid?  nur  ba§ 


©o  ^a^  bu  bi$  im  Xem^el  too^I  betpal)rt; 
3)a§  2eben  Ie^>rt  un§,  toeniger  tmt  un§ 

1655  Hnb  anbem  ftrenge  fein;  bu  lernft  e§  aucfy. 
@o  h)unberbar  tft  bie^  ©efcfyled^  gebilbet, 
<So  bielfad^)  tft'§  berfcfylungen  unb  uerfnii^ft, 
3)a^  letner  in  ficfy  felbft,  noc^  mit  ben  anbern 
@i<$  rein  unb  unbertoorren  fatten  lann. 

1660  2lud(>  finb  toir  mdE)t  beftellt  un§  felbft  311  ricfyten; 
3u  n>anbeln  unb  auf  feinen  2Beg  ju  fetyen 
3ft  eineg  9Renfc^en  erfte,  nac^fte  ^flic^t: 
2)enn  felten  fd^a^t  er  recfyt  n)a§  er  gei^an, 
Unb  toa§  er  tb,ut  n>et^  er  faft  nie  ju 


3  p  b,  i  genie. 
1665  $aft  iiberreb'ft  bu  mid?  gu  beiner  3Jieinung. 

^B  ty  I  a  b  e  S. 

SBrau^t'g  liberrebung,  t»o  bie  Sab,  I  berfagt  ift? 
.2)en  Sruber,  bid;,  unb  einen  ^reimb  ju  retten 
3ft  nur  ©in  2Beg;  fragt  ficb,'§  ob  toir  i^n  gefyen? 


SSierter  Slufjug.    SJMerter  Slnftritt.  73 


D  lajj  tnicfy  jaubern!  benn  bu  tfyateft  felbft 

1670  (gin  folcfyeS  Unrest  feinem  SJiann  gelaffen, 

3)cm  bu  fiir  aBofyltfyat  bicfy  toerpflicfytet 


SBenn  toir  ju  ©runbc  ge^en,  trartct  bein 
(Sin  ^>drtrer  SSortDurf,  ber  SSerjtoeifhmg  trcigt. 
3Jian  fie^t,  bu  bift  ni<f)t  an  SSerluft  geiuo^nt, 
1675  2)a  bu  bem  gro^en  libel  ju  entgefyen 

@in  falfc^e^  2Bort  nid^t  einmal  o^fem  toiffft. 


D  triig'  id^)  bod^)  ein  mdnnlid9  §erj  in  mir! 
3)a§,  toenn  eS  einen  fiifynen  SSorfa|  ^egt, 
SBor  jeber  anbetn  ©ttmme  ftd^  Derfd^Iie^t. 


1680  35u  toeigerft  bid(>  umfonft;  bie  efyme 
S)er  g?otl>  gebietet,  unb  i^r  emfter  2Binf 
3ft  oberfteS  ©efe^  bem  ©otter  felbft 
©id^  untertoerfen  miiffen.    (Sc^iDeigenb  fyerrfdjt 
2)e§  eh)  'gen  ©c^tdfal^  unberat^ne  ©cfytoefter. 
1685  2Ba§  fie  btr  auferlegt,  bag  trage:  t^u' 

fte  gebeut.    $>a£  Slnbre  h>ei|t  bu.    S3alb 

id§  juriicf,  au3  beiner  (>eil'gen  §anb 
Sfcttung  fd^one§  ©iegel  ju  em^fangen. 


74  3pl)igenie  auf  £auri«. 

^iinftcr  tfuftrttt. 

$bb,i  genie  (allein). 

%<5)  mufj  ifym  folgen:  benn  bie  -Bfoinigen 

1690  ©el?'  icb,  in  bringenber  ©efafyr.    SDocb,  adij! 

3Jlein  eigen  ©cfyicffal  macfyt  mir  bang  unb  banger. 
D  fott  icfe,  nicfyt  bie  ftitte  §offmmg  retten, 
£)ie  in  ber  ©nfamfeit  id?  fd)5n  genafyrt? 
@ott  biefer  glucl>  benn  eang  toalten?    @oU 

1695  9lie  bief;  ©efc^Ied^t  mit  einem  neuen  <5egen 
©id?  toieber  i>eben?  —  -ftimmt  bod^  aHe§  ab! 
35a§  befte  ©liicf,  be«  2eben§  fc^onfte  tfraft 
©rmattet  enblid^,  toarum  nid^t  ber  glucb,? 
<So  ^offt'  i<f)  benn  bergebenS,  ^ier  bertoa^rt, 

1700   -Son  meine§  §aufe§  ©c^irffal  abgefd^ieben, 
35erein[t  mit  reiner  §anb  unb  reinetn  §erjen 
2)ie  fc^toer  beflerfte  2Bob,nung  ju  entfu^nen ! 
^aum  toirb  in  meinen  3lrmen  mir  ein  33ruber 
SSom  grimm'gen  libel  tounberboH  unb  fc^neH 

1705  ©e^eilt,  faunt  nai)t  ein  lang  erfle^teg  ©djiff, 
9Jiid^  in  ben  ^Sort  ber  SSatertoelt  ju  letten, 
@o  legt  bie  taube  -ftotb,  ein  boptoelt  Safter 
3)iit  earner  §anb  mir  auf:  bag  fyeilige 
3Jiir  anbertraute,  biel  berel)rte  SBilb 

1710  3u  rauben  unb  ben  3Jlann  ju  fytntergefyn, 

3)em  id^>  mein  Seben  unb  mein  ©d^icffal  banle. 
D  bafc  in  meinent  Sufen  nirf)t  jule^t 
Sin  SSibertoitte  feime!  ber  £itanen 
2)er  alten  ©otter  tiefer  £ajj  auf  eud?, 

1715  Dfymtoier,  nid^t  aud?  bie  jarte  Sruft 


Scdr! 


Cfm 
t 

:••- 


n 
=••- 


ouf 
(Sic  abet,  fie  bleiben 


i745 

3ln  golbenen  £ifcb,en. 
@ic  fdjreiten  bom  S3erge 
3u  33ergen  ^iniiber: 
2lii§  ©cf)Iiinben  ber  £iefe 
I750  ®ampft  i^nen  ber  2ltb,em 

©rftiitcr  3:itanen, 

D^fergerii^en, 
©etoolle. 


©g  tcenben  bie 

i755  ^b,r  fegnenbes 

SSon  ganjen 
Unb  metben,  im  Gnlel 
S)te  eb.mal^  geliebten 
©titt  rebenben 
1760  2)e§  2 


@o  fangen  bie 
@§  ^ord^t  ber  SSerbannte 
^n  nacf)tlid>en  §o^)Ien 
S)er  2llte  bie  Sieber, 

1765  ®enft  ^inber  unb  @nlel 

Unb  fc^iittelt 


<£rfter  Huftrttt. 


SBertoirrt  mufj  icfy  geftefyn,  bafc  idj>  nid^t  toeifj, 
SSofyin  id)  meinen  2lrgrt>ol)n  ric^ten  foH. 
(Sinb'g  bie  ©efangnen,  bie  auf  tfyre  ^lud^t 

1770  $Ber(to^)Ien  finnen?    3ft'8  bie  ^riefterin, 

®ie  ifinen  Pft!    @g  me^rt  jic^  ba§  ©criid^t: 
S)a§  ©d^tff,  ba§  biefe  betben  i>ergebra^t, 
(Sci  irgenb  nocfy  in  einer  Suc^t  berftedft. 
Unb  jeneS  3Kanneg  SSa^nfinn,  biefe  SSeilje, 

1775  S)et  ^eil'ge  3Sorhjanb  biefer  3^9runS/  tufen 
3)en  2lrgit)o^n  lauter  unb  bie  SSorfid^t  auf. 

X  $  o  a  «. 

63  fomme  fd^nett  bie  ^riefterin  fyerbei  ! 
35ann  geljt,  burd^fud^t  ba3  Ufer  frf)arf  unb  f^neff 
SBom  SSorgebirge  bi^  jum  §ain  ber  ©ottin. 
1780  SSerfd^onet  feine  fyeil'gen  ^iefen,  legt 
Sebad^t'gen  ^inter^alt  unb  greift  fie  an; 
2Bo  ib,r  fte  finbet,  fa^t  fie  toie  it>r  ^flegt. 


78  3pl)tgenie  ouf 

2fuftrttt. 


(attein). 

©ntfe^Iicfy  toecfyfelt  mir  ber  ©rimm  im  SBufen; 
@rft  gegen  fie,  bte  icfy  fo  fyeilig  fyielt; 

1785  $)ann  gegen  micfy,  ber  icfy  fie  jum  SerratI) 
25urd^  ^ac^fic^t  unb  burcfy  ©iite  bilbete. 
3ur  ©Ilaberei  getoofynt  ber  SJlenfd)  fid^  gut 
Unb  lernet  leid^t  ge^orc^en,  toenn  man  ifyn 
35er  ^rei^eit  ganj  beraubt.    ^a,  Ware  fie 

179°  3n  seiner  2l^>n^errn  rot>e  §anb  gefoffen, 
Unb  ^atte  fie  ber  fyeil'ge  ©rimm  Derf^ont: 
@ie  h)dre  frofy  getoefen,  fic§  alletn 
3u  retten,  fyatte  banfbar  i^r  ©efdjidE 
©rfannt  unb  frembe§  Slut  bor  bem  Slltar 

1795  SSergoffen,  ^atte  $fltcfyt  genannt 

2Ba§  9loti)  toar.    9l\m  locft  meine  ©ute 
^n  ifyrer  Sruft  bertoegnen  2Bunfc|)  ^erauf. 
SBergeben§  ^offt'  ic^,  fie  mir  ju  berbinben; 
@ie  finnt  fidp  nun  ein  eigen  (Scfyicffal  au§. 

1800  £>ur$  ©d^meid^elei  geiuann  fie  mir  ba§  §erj: 
3l\m  toiberfte^'  i<fy  ber;  fo  fud^t  fie  fid? 
S)en  2Beg  burd^  Sift  unb  Strug,  unb  meine  ©ute 
©d^eint  ifyr  ein  alt  berjd^rte§  @igentfyum. 


Drttter  Otuftritt. 


forberft  mic^!  toa«  bringt  bic^  ju  un« 


gflnfter  aufgug.    fritter  auftrttt.  79 


18*5  $u  fcfyiebft  bag  Dpfer  auf;  fag'  an,  toarum? 

$  $  fy  \  g  e  n  i  e. 
3$  fyab'  an  2lrfag  atteg  flar  erjafylt. 


93on  bit  mod^t'  i$  eg  toeiter  nod^  yerne^men. 


®ic  ©ottin  gibt  bir  g-rift  jur  tiberlegung. 

a;  i)  o  a  s. 

@ie  fd^eint  bir  fclbft  gelegen,  biefe  ^rift. 

^^i  genie. 
1810  SSenn  bir  bag  §erj  jum  graufamen 


3?er^artet  ift:  fo  fottteft  bu  nid^t  fommen! 
©n  ^onig,  ber  Unmenfd?Iid9eg  toerlangt, 
^inb't  Wiener  g'nug,  bie  gegen  ©nab'  unb  Sofyn 
2)en  fyalben  ^lud)  ber  X^at  begierig  faffen; 

1815  2)009  feine  ©egentoart  bleibt  unbeflecft. 

(Sr  finnt  ben  Xob  in  einer  fd^)h)eren  2BoI!e,  . 
Unb  feine  Soten  bringen  flammenbeS 
SSerberben  auf  beg  2trmen  £au£t  ^inab; 
(Sr  aber  fc^toebt  burcfy  feine  §o^en  ru^igr 

1820  @in  unerreic^ter  ©ott,  im  ©turme  fort. 


^eil'ge  Si^e  tont  ein  toilbeg  2ieb. 


3pf)igenie  auf  kauris. 


^riefterin!  nur  2lgamemnon§  £od}ter. 
$)er  llnbe!annten  SBort  berefyrteft  bu; 
$er  prftin  toittft  bu  rafcfy  gebieten?  9Mn! 

1825  Son  ^ugenb  auf  Ijab'  id^  gelernt  geE>ord^en, 
©rft  meinen  ©Item  unb  bann  eincr  ©ottfyett, 
Unb  folgfam  fii^lt'  id)  immer  metne  @eelc 
2lm  fcfyimften  fret;  attein  bem  fatten  SSorte, 
2)em  rau^en  2lu§f^rud^>  eineS  9ftanne3  mid^ 

1830  3"  f"9^"/  Ian*'  t<$  toeber  bort  nodp  fyier. 

3;  ^  o  a  3. 
©in  alt  ©efe^,  nid^t  id^  gebietet  btr. 


SSir  faffen  ein  ©efe§  begierig  an, 
$a3  unfrer  Seibenfd^aft  jur  SBaffe  bient. 
(Sin  anbreS  f^rtc^t  ju  mir,  ein  altered, 
1835  3Kid?  bit  ju  toiberfe^en,  ba§  ©ebot, 
3)em  jeber  ^rembe  ^eilig  ift. 


@§  fd^einen  bie  ©efangnen  bir  fefyr  na^ 
2lm  §erjen:  benn  bor  2lnti>eil  unb  Setoegung 
SBergiffeft  bu  ber  ^lug^eit  erfteg  2Bort, 
1840  2)a^  man  ben  3ftacfytigen  nid^t  reijen  foU. 


9teb'  ober  fd^toeig'  id^,  immer  fonnft  bu  toiffen, 
3Ba«  mir  im  £erjen  ift  unb  immer  bleibt. 
Soft  bie  ©rtnnerung  beS  gleid)en  ©dpidffalg 
ein  berfd?Ioff'ne§  &era  $um  3RitIeib  auf? 


gunfter  flufgug.    ©ritter  Sluftritt.  81 

1845  2Bie  tnefyr  benn  meinS!     %n  ifmen  feb,'  id?  mic£. 

3d?  6,abe  bor'm  2Utare  felbft  gejittert, 

Unb  feierlid?  umgab  ber  friifye  iob 

2)ie  ^nteenbe;  ba§  3Jleffer  judte  fd^on, 

3)cn  lebenboUen  Sufen  ju  burd^bo^ren; 
1850  3Kein  ^nnafteS  entfe^te  toirbelnb  fid^, 

SKein  2luge  brad^,  unb  —  id?  fanb  mid?  gerettet. 

©tnb  tnir,  toa3  ©otter  gndbig  un§  getod^rt, 

Ungliicflicfyen  nid^t  ju  erftatten  fc^ulbig? 

2)u  toei^t  e^,  fennft  mid?,  unb  bu  toiUft  mid?  jtoingen! 

X  b,  o  a  «. 
1855  ©eljord?e  beinem  3)ienfte,  nid?t  bent  £erm. 

3  ^)  ^>  i  g  e  n  i  e. 

2a^  ab!   33efd?onige  nid?t  bie  ©etualt, 
3)ie  fid?  ber  <5d?toad?b,eit  eine§  3Beibe§  freut. 
3d?  bin  fo  frei  geboren  al«  ein  3Jlann. 
©tiinb'  2lgamemnon§  ©o^n  bir  gegeniiber, 
1860  Unb  bu  berlangteft  n?al  fid?  nid?t  gebiiF)rt  : 
@o  ^at  aud?  @r  ein  @d?h)ert  unb  einen  2lnn, 
S)ie  9fted?te  fejne^  23ufen3  ju  berteib'gen. 
3d?  ^abe  nidjts  al^  SBorte,  unb  eg  jiemt 
35em  ebeln  5Rann,  ber  ^rauen  SSort  ju  ad?ten. 


1865  3d?  ad?t'  e§  me^r  al§  eineg  Sruberg  @d?toert 


ber  2Baffen  h)ed?felt  fyin  unb  ^cr: 
5lein  Huger  ©treiter  f>dlt  ben  ^einb  gering. 
2tud?  ob,ne  ^iilfe  gegen  Xru^  unb  §drtc 


ouf 


£at  bie  -ftatur  ben  <3d;toad;en  nid;t  gelaffen. 
1870  <5ie  gab  jur  Sift  ifym  $reube,  lefyrt'  ifyn  £unfte; 
35alb  h>eid;t  er  au§,  toerfpatet  unb  umgefyt. 
$a,  ber  ©etoaltige  berbient,  ba^  man  fie  iibt. 


5Die  3Sorftc^t  ftettt  ber  Sift  fid?  Hug  entgegen. 

Spfyigenie. 
Unb  cine  reine  ©eele  braucfyt  fie  nid;t. 


1875  ©prid;  unbe^utfam  nid;t  bein  eigen  ttrtfyeil. 

^  $  ^  i  g  e  n  i  e. 

D  fafyeft  bu  hne  meine  ©eele  ldm))ft, 
©in  bo§  ©efd;idc,  ba3  fie  ergreifen  toitt, 
^m  erften  SJnfatt  mut^ig  abgutreiben! 
<So  ftefy'  id;  benn  I>ier  h>e^rlo§  gegen  bid)? 

1880  2)ie  fd;5ne  S3itte,  ben  anmut^'gen  ^^^S/ 
^n  einer  grauen  §anb  gen>altiger 
3llg  @d?toert  unb  2Baffe,  fto^eft  bu  juriirf: 
9Ba§  bleibt  mir  nun,  mein  ^nnreg  ju  joerteib'gen? 
9tuf  id?  bie  ©ottin  urn  ein  SBunber  an? 

1885  ^ft  leine  &raft  in  meiner  ©eele  Xiefen? 

£  ty  o  a  g. 

@§  fd;eint,  ber  beiben  gremben  ©cfyirffal  mad)t 
Unmci^ig  bid;  beforgt.    2Ber  finb  fie?  f^rid;, 
gur  bie  bein  ©eift  getoaltig  fid;  erfyebt? 


ne. 
©ie  ftnb  —  fie  fd;einen  —  fur  ©ried;en  fyalt'  id;  fte. 


pnfter  2tuf?ug.    Srittet  SUtftrttt.  83 


1890  Sanblleute  finb  e§?  unb  fie  fyaben  toofyl 
2)er  SWiicEfefyr  fcfyoneS  33ilb  in  bir  erneut? 

3  p  fy  i  g  e  n  i  e  (naif)  einigem  @tiUf(f)tt>etgen). 

$at  benn  gur  unerfyorten  Xfyat  ber  3Jlann 

StHein  ba§  3fied^)t?    2)rttdt  benn  Unmoglid^eg 

9^ur  @r  an  bie  gemalt'ge  §elbenbru[t? 
1895  2Ba3  nennt  man  gro^?    2Ba§  ^ebt  bie  ©eele  fd^aubernb 

£>em  immer  h)ieberi>olenben  (Srja^Ier? 

21I§  toa§  mtt  unn)a^rfc£)einli4iem  (Srfolg 

3)er  Sftutljtgfte  begann.    5Der  in  ber 

SlUein  ba§  §eer  be§  $einbe§ 
1900  SSie  unberfei>en  eine  $lamme 

25ic  ©d^lafenben,  ©rtoacfyenben  ergreift, 

3ule^t  gebrangt  toon  ben  ©rmunterten 

2tuf  geinbe^  ^Sferben,  bocb,  mit  Scute  fe^rt, 

3Strb  ber  aftein  ge^riefen?  ber  attein, 
1905  2)er,  einen  fia^ern  SSeg  berad^tenb,  fiib^n 

©ebirg'  unb  2BaIber  burd^juftreifen  ge^t, 

2)a^  er  toon  Sidubern  eine  ©egenb  faubre? 

3ft  un§  nicb.tS  iibrtg?  Mu|  ein  jarte§  2Beib 

@ia)  tf>ree  angebornen  9terf)t§  entau^ern, 
1910  2BiIb  gegen  2Bilbe  fein,  h)ie  Slmajonen 

2)a§  Stecfyt  be§  ©d^toctts  eud^  rauben  unb  mit  SBIutc 

2)ie  Unterbriicfung  racfyen?    2luf  unb  ab 

©teigt  in  ber  Sruft  ein  fiif)ne§  Unternefymen  : 

^50^  luerbe  gro^em  23oritwrf  nt(f)t  entgef>n, 
1915  ^od^  fcfytoerem  Ubel  tcenn  e^  mir  mipngt; 

2lHein  @urf>  leg'  ic^'§  auf  bie  $niee  !     2Senn 

^fyr  toa^aft  feib,  tote  ii>r  gepriefen  toerbet; 


84  3^i0«nie  auf 

©o  geigt'S  burcfy  euern  33eiftanb  unb  berfyerrlicfyt 
£)urcb,  micfy  bie  SBafyrfyeit!  —  %a,  bernimm,  o 

1920  @§  hrirb  ein  fyeimltcfyer  Setrug  gefcfymiebet ; 
23ergeben§  fragft  bu  ben  ©efangnen  nadb. ; 
©ie  finb  fn'ntoeg  unb  fucfyen  iF>re  ^reunbe, 
3)te  mtt  bent  ©d^iff  am  lifer  toarten,  auf. 
2)er  alt'fte,  ben  ba§  libel  ^ter  ergriffen 

1925  Unb  nun  berlaffen  I)at  —  e§  ift  Dreft, 

5Jiein  Sruber,  unb  ber  anbre  fein  SSertrauter, 
@ein  3ugen^freun^/  m^  Xiamen  ^ijlabeg. 
2lpott  fc^idft  fie  toon  SDetyfyi  biefem  Ufer 
gjiit  gottlid^en  33efeb,Ien  gu,  ba§  SBilb 

1930  3)ianen§  toegjurauben  unb  ju  iljm 
3)ie  ©c^toefter  b^injubrtngen,  unb  bafur 
33erf:|mcb,t  er  bem  bon  gurten  Serfolgten, 
®eg  3JiutterbIute§  ©d^ulbigen,  Sefreiung. 
Un§  beibe  b,ab'  irf»  nun,  bie  Uberbliebnen 

1935  SSon  ^antal§  ^auS,  in  beine  §anb  gelegt: 
SSerbirb  un^  —  toenn  bu  barfft. 

£  fy  o  a  «. 

$u  glaubft,  e§  ^ 

$er  rob,e  ©c^t^e,  ber  Sarbar,  bie  ©timme 
$er  SBaijr^eit  unb  ber  gftenfcfylic&.feit,  bie  Sltreug, 
S)er  ©riecb,e,  nid^t  toerna^m? 

S^>^i  genie. 

@§  b,ort  jtc  jeber, 
1940  ©eboren  unter  jebem  giimmel,  bem 

3)eg  SebenS  Duette  burd^  ben  Sufen  rein 
Unb  ungeb,inbert  flic^t.  —  2Bal  finnft  bu  mir, 
D  £6nig,  fa^toeigenb  in  ber  tiefen  ©eele? 


gfinfter  aufjug.    fritter  luftritt.  85 

3ft  e§  SBerberben?  fo  tobte  mid)  juerft! 
1945  2)enn  nun  empfinb'  id),  ba  un§  leine  Stettung 

3Jlefyr  iibrig  bleibt,  bie  grajjlicfye  ©efafyr, 

SBorein  id)  bie  ©eliebten  iibereilt 

SBorfepcb  fturjte.    2&efy!  id)  toerbe  fie 

©ebunben  bor  mir  fefyn!     3Jiit  h)eld^en  Sliden 
1950  $ann  ic^>  toon  meinem  Sruber  Slbfd^ieb  nei)men, 

25en  id^)  ermorbe?    dimmer  fann  id^>  i^m 
in  bie  bielgeliebten  2lugen  fcfyaun! 


(So  ^aben  bie  33etriiger  liinftlid)=bi^tenb 
2)er  lang  3Serf(f)Ioff'nen,  ifyre  SBiinfd^e  leid^t 
1955  Unb  toittig  ©laubenben,  ein  fold^  ©efpinnft 
getoorfen! 


!  o  $onig,  nein  ! 

%$  lonnte  ^intergangen  luerben;  biefe 

<Sinb  treu  unb  h)al)r.    2Birft  bu  fie  anber§  finben, 

©o  lajj  fie  fatten  unb  berfto^e  micfy, 
1960  SSerbanne  mic^  jur  ©trafe  meiner  St^or^eit 

2ln  einer  ^litopen^nfel  traurig  lifer. 

3ft  aber  biefer  SJtann  ber  lang  erfle^te, 

©eliebte  Sruber:  fo  entla^  ung,  fei 

2lu<f>  ben  ©efd^toiftern  toie  ber  @rf)toefter  freunblid^! 
1965  9Kein  SSater  fiel  burc^  feiner  ^rauen  ©cfyulb, 

Unb  fie  burd^)  i^ren  <3ofyn.    2)ie  le^te  ^offnung 

SSon  2ltreu§  ©tamme  rui>t  auf  ii>m  attein. 

£a^  mi<fy  mit  reinem  §erjen,  reiner  ^anb, 

§iniiberge^n  unb  unfer  §au§  entfii^nen. 


gg  3pfyigeme  auf  £aim8. 

1970  $u  fyaltft  mir  2Bort!  —  SBenn  ju  ben  2fteinen  jc 
2Rir  Stiicftefyr  jubereitet  toare,  fc^tourft 
2)u  m\<fy  §u  laffen;  unb  fte  ift  e3  nun. 
@in  $5nig  fagt  nidE)t,  toie  gemeine  SRenfcfyen, 
SSerlegen  ju,  ba^  er  ben  Sittenben 

1975  2luf  einen  2tugenblicf  entferne;  noc^ 

SSerf^ric^t  er  auf  ben  $aU,  ben  er  nicfyt  ^offt: 
2)ann  fii^It  er  erft  bie  £%  feiner  SBitrbe, 
2Benn  er  ben  §arrenben  begliidEen  fann. 


,  tote  firf)  $euer  gegen  2Baffer 
1980  ^m  $ampfe  toe^rt  unb  gifrf>enb  feinen  $einb 
3u  tilgen  fud)t,  fo  toefyret  fid^  ber  goxn 
^n  meinem  Sufen  gegen  beine  2Sorte. 


D  Ia^  bte  ©nabe,  tote  ba€  ^etl'ge  Stc^t 
2)er  ftitten  D^ferflamme,  mir,  umfranjt 
1985  SSon  2obgefang  unb  2)anl  unb  greube,  lobem. 


2Bte  oft  befdnfttgte  nttd9  btefe  ©ttmme! 


D  retcfye  mir  bie  §anb  junt  ^ri 

3;  ^  o  a  3. 
S)u  forberft  biel  in  einer  furjen  3e 


ne. 
Urn  ©ut'3  ju  tl>un  braud()t'g  feiner  iiberlegung. 


pnfter  Hufgug.    SBierter  ^uftrttt.  87 

3;^oa§. 
1990  (Sefyr  biel!  benn  audj  bem  ©uten  folgt  ba§  ftbel. 


S)cr  3n>eifel  ift'S,  ber  ©ute§  bofe  mac^t. 
Sebenfe  mcfyt;  getoa^re,  mie  bu'S  fii^Ift. 


Pterter  ^uftritt. 

Dreft  (gewaffnet).    2)ie  SSorigen. 
D  r  e  ft  (nad^  ber  @cene  gefe^rt). 

SBerbo^elt  cure  ^rafte!    §altet  fie 
3uriic!!  nur  toenig  2lugenbliif  e  !    2Bei$t 
1995  2)er  SJlengc  nicJ)t,  unb  becft  ben  SBeg  gum  <Sd)iffe 
3Jlir  unb  ber  @d^h)efter. 

(3U  3pt)t8enien  o^ne  ben  ^ontg  gu  fe^en.) 

^omm,  h)ir  finb  toerratfyen. 

©eringer  9laum  bleibt  un§  jitr  ^lud^t.    ©efc^toinb  ! 
(@r  erblicft  ben  ^onig.) 

3;  ^  o  a  3  (nad)  bem  @d)tt)erte  greifenb). 
^n  meiner  ©egentoart  fiifyrt  ungeftraft 
ba§  nacfte 


©nt^eiltget 

$)er  ©ottin  2Boi>nung  nic^t  burd^  S&utfy  unb  3Jiorb. 
©ebietet  euerm  SBolfe  ©tidftanb, 
2)ie  ^riefterin,  bie  ©cfytoefter. 


auf 

Dreft. 

©age  tnir! 
2Bcr  ift  e3,  ber  unS  brofyt? 


3)en  $onig,  ber  mein  jtoeiter  $ater  toarb  ! 
2005  SBerjeify  mir,  33ruber  !  bodj  metn  Iinbli4>  ^cr 
§at  unfer  ganj  ©efd^td  in  feine  §anb 
©elegt.    ©e[tanben  ^ab'  id^  euern  2lnfdf)Iag 
Unb  meine  ©eelc  bom  3Serrat^)  gerettet. 

Dreft. 
2Sitt  cr  bie  9tiidfe^r  frieblid^)  un§  getodfyren 


3)etn  blinfenb  <3cfyh>ert  berbietet  mir  bie  2lnth)ort. 

D  r  e  ft  (ber  ba«  @(^tt)ert  einfiecft). 
@o  f&ricfy  !  2)u  fie^ft,  id?  ^or<i)e  beinen  3Borten. 


^unftcr  Sluftrttt. 

3)ic  SSorigen.    <P^Iabe§.    Salb  nad?  i 
(Seibe  mit  blo^en  @d)»ertent.) 

^^  lab  e^. 

SSertoeilet  nid)t!    2)ie  le|te  ^rafte  raffen 
S)ie  Unfrigen  jufammen ;  tt>eid)enb  loerben 
©ie  nad;  ber  @ee  langfam  juriirfgebrangt. 
3015  SBeld;  ein  ©efbrad;  ber  $urften  finb'  id; 
ift  b 


gitnfter  ^lufjug.    ®ecf)fter  «uftritt. 

Stfttl. 

©elaffen,  tote  e3  bir,  o  $onig,  jiemt, 
©tefyft  bu  ben  ^einben  gegeniiber.     ©leicfy 
3ift  bie  33ertoegenfyett  beftraft;  e^  toeirf)t 
2020  Unb  fdttt  i^r  Sln^ang,  unb  ifyr  ©d^iff  ift  unfer. 
@in  2Bort  bon  btr,  fo  ftel)t'§  in  ^latnmen. 


©ebtete  ©ttHftanb  metnem  SSoIIe!  fetner 
Sefd^abtge  ben  ^etnb,  fo  lang  totr  reben. 
(«rfo«  ab.) 

D  r  e  ft 

3^  ne^m'  e«  an.    ©el?,  fammle,  treuer 
2025  $en  Sleft  be§  SSolfeg;  garret  fttff,  toelc^  @nbe 
2)ie  ©otter  unfern  £fyaten  juberetten. 
ab.) 


Sedjfter  2luftritt. 

.    Ore  ft. 


enie. 

Sefreit  toon  ©orge  micfy,  el>'  i^>r  ju  f^red^en 
Seginnet.     ^d?  befiirc^te  bofen  B^ift 
2Benn  bu,  o  ^onig,  nid^t  ber  33ittigfeit 
2030  ©elinbe  ©timme  fyoreft;  bu,  mein  33ruber, 
2)er  rafdjen  ^ugenb  nid^t  gebieten  toittft. 


90  3pfyigfnie  aitf 

a:  &  o  a  s. 

3$  b>Ite  meinen  gorn,  tote  e§  bem  &ltern 
©ejiemt,  juriid.     2lnttoorte  mir!     2Bomit 
Sejeugft  bu,  bajj  bu  2lgamemnon§  ©oljm 
2035  Unb  Siefer  SBruber  bift? 

Dreft. 

£ier  ift  ba<3 
9Rit  bem  er  £roja'3  ta^frc  banner  fd^Iug. 
£)iefj  na^m  id^  fetnem  5Jtorber  ab,  unb  bat 
3)ie  ^immlifc^en,  ben  ;3ftutfy  unb  Sttrm,  bag  ©Kid 
S)e§  gro^en  ^ontge§  mir  ju  berlei^n, 
2040  Unb  einen  fcfyonern  2iob  mir  ju  getoa^ren. 
SBafyP  einen  au§  ben  @beln  beine^  ^eer? 
Unb  ftette  mir  ben  SBeften  gegeniiber. 
©o  toett  bie  @rbe  ^elbenfo^ne  na^rt, 
3ft  feinem  ^rembling  bie^  ©efua;  berlceigert. 


2045  2)ie|  SSorred^t  ^at  bie  alte  ©itte  nie 
gremben  fn'er  geftattet. 


Dreft. 

<So  beginne 
neue  ©itte  benn  toon  bir  unb  mir  ! 

fyeiliget  ein  gan5e§  SSoII 
Sie  eble  2tyat  ber  §errfd^er  jum  ©efe|. 
2050  Unb  Ia^  mid)  nid^t  aHein  fiir  unfre  ^rei^eit, 

2a^  mitt),  ben  $remben  fiir  bie  $remben,  !dm^fen. 
gaU'  id),  fo  ift  ifyr  Urt^eil  mit  bem  meinen 
©efprocfyen;  aber  gonnet  mir  ba£  ©liid 
3u  iiberh)inben;  fo  betrete  nie 


gunfter  Slufjug.    ©edjfter  2luftritt.  91 

2055   @in  -Btonn  biefj  lifer,  bem  ber  fcfynetfe  Slicf 
§iilfreid)er  Siebe  nidjt  begegnet,  unb 
©etroftet  fcfyeibe  jeglicfyer  fyintoeg! 


untoertf)  fd)eineft  bu,  o  Bungling,  mir 
2)er  StFin^errn,  beren  bu  bicb,  rii^mft,  ju  fein. 
2060  ©rojj  tft  bie  3a^  ^er  e^e^n  tapfern  SJianner, 
2)ie  mic^  begletten;  bod^)  idp  fteF)e  felbft 
3>n  meinen  ^a^ren  no^  ^em  $einbe,  bin 
SBereit  mtt  bir  ber  SSaffen  2oo§  ju  ioagcn. 

3pb,i  genie. 

5Jlit  nidpten!  ^)iefe§  blittigen  SetoeifeS 

2065  SBebarf  e§  ntcfyt,  o  ^onig!    Sa^t  bie  £anb 

3Som  (Sc^toerte!     2)en!t  an  micb,  unb  mein  ©efd^icf. 
2)er  rafcfye  ^am^f  toeretoigt  einen  9)lann: 
@r  falle  gleicf),  fo  ^reifet  ib,n  ba§  Sieb. 
Stttein  bie  ^fyranen,  bie  unenblicb.en 

2070  ®er  iiberbliebnen,  ber  berla[f'nen  ^rau, 

3di>It  leine  -ftacfytoelt,  unb  ber  2)idr)ter  fdjtoeigt 
SSon  taufenb  burd^geiueinten  SCag*  unb  Slacfyten, 
2Bo  eine  ftitte  <Seele  ben  berlornen, 
9tafc^)  abgefrfjiebnen  $reunb  bergebenS  ftd^ 

2075  ^urMjurufen  bangt  unb  fid)  toerjefyrt. 

ytlid)  felbft  b,at  eine  ©orge  gletd^  getoamt, 
2)a^  ber  Setrug  nicb,t  eine3  Stduber^  mid^ 
5Bom  fidgern  (Srfw^ort  rei^e,  mid^)  ber 
SSerratfye.  glei^ig  b,ab'  id^>  fie  befragt, 

2080  Wad)  jebem  Umftanb  mid)  erfunbigt, 
©eforbert,  unb  getoift  ift  nun  mein 


92  3pl)igenie  auf 

©ieb,  fyier  an  feiner  recfyten  £anb  ba§ 

2Bie  toon  brei  ©ternen,  ba3  am  £age  fcfyon, 

3)a  er  geboren  toarb,  ficfc,  jeigte,  ba§ 

2085  Sluf  fcfytoere  $b,at  mit  biefer  $auft  511  ii&en 
3)er  ^Briefter  beutete.    2)ann  iiberjeugt 
gjiid^)  bo^elt  biefe  ©gramme,  bie  ifym  ^>ier 
I)ie  2(ugenbraune  fyaltet.    2111  ein  ^inb 
Sie^  ifyn  ©leltra,  rafd^  unb  unborftcijtig 

2090  9tacfy  if>rer  Slrt,  aul  ifyren  2trmen  ftitrjen. 

@r  fd^lug  auf  einen  ®reifu^  auf  —  @r  ift'g  — 
©ott  id9  bit  no$  bie  t^nlid?!eit  be^  Waters, 
©ott  id^  ba§  tnnre  ^aurf^en  meine§  §erjen« 

nennen? 


X  b,  o  a  3. 

2095  Unb  fyiibe  betne  9iebc  jeben  3toe^fe^ 

Unb  banbigt'  \<fy  ben  3°rn  ^n  nteiner  SBruft: 
©o  toiirben  bod^  bie  SBaffen  jftrifcfyen  un§ 
©ntfd^eiben  miiffen;  grieben  feb,'  id^  nid^t. 
©ie  finb  gefommen,  bu  belenneft  felbft, 

2100  2)a3  ^eil'ge  S3ilb  ber  ©ottin  mir  gu  rauben. 
©laubt  i^r,  id)  fe^>e  bie|  gelaffen  an? 
SDer  ©ried;e  toenbet  oft  fein  liiftern  Sluge 
2)en  fernen  ©d^a^en  ber  Sarbaren  ju, 
3)em  golbnen  gette,  ^ferben,  fd^onen  ^od^tern 

2105  £ocb,  fub,rte  fie  ©etoalt  unb  Sift  nicfyt  immer 
3Jiit  ben  erlangten  ©iitern 


Dreft. 

Silb,  o  ^onig,  fott  un§  nid^t  entjtoeien  ! 
fennen  tuir  ben  ^rrt^um,  ben  ein  ©ott 


guufter  Stufjug.    ©erftfer  Sluftritt.  93 


2Bie  einen  ©deleter  um  ba§  §aupt  un3  legte, 

2110  3)a  er  ben  2Beg  fyierfyer  un§  toanbern  fyiejj. 
Um  Slatfy  unb  um  Sefreiung  bat  id^  ifyn 
SSon  bem  ©eleit  ber  $urien;  er  fprarf;  : 
,,23ringft  bu  bie  ©rfjtoefter,  bte  an  kauris  lifer 
^m  £etligtfmme  lotber  Sttten  bleibt, 

2115  9facf)  ©riedE>enIanb  ;  fo  Idfet  fid:)  ber  fjlud^.11 
2Bir  legten'g  Don  2lpoffen^  ©^toeftcr  au§, 
Unb  er  gebacfyte  b  i  cr;  !     ®ie  ftrengen  33anbe 
<Stnb  nun  gelof't;  bu  bift  ben  $)einen  trtteber, 
®u  §eiltge,  gefrfjenft.     3Son  bir  beriif)rt 

2120  SSar  ic^  ge^eilt;  in  beinen  2lrmen  fa^te 
25ag  Ubel  mid9  mit  aHen  feinen 
3um  lefctenmal,  unb  fc^uttelte  ba§ 
©ntfe^Iid)  mir  jufammen  ;  bann  entflofy'3 
SSie  eine  ©flange  ju  ber  jQofyle.     5leu 

2125   ©enie^'  icfy  nun  burcf>  bid)  ba§  ioeite  Strf;t 
S)e^  3^age§.     ©rf;Dn  unb  fyerrlicf)  jetgt  firf;  mir 
$er  ©ottin  SRot^.    ©leic^)  einem  fyeil'gen 
2)aran  ber  ©tabt  imtoanbelbar  ©efc^id 
3)urd9  ein  gei)eime§  ©ottertoort  gebannt  ift, 

2130  9la^m  fie  birf;  toeg,  bie  6d9ii|erin  be§  ^aufe 
Setoa^rte  birf;  in  einer  fyeil'gen  (Stitte 
3um  <3egen  beine3  Sruber^  unb  ber  2)einen. 
2)  a  aHe  Sfiettung  auf  ber  toeiten  ©rbe 
SSerloren  frf;ien,  gibft  bu  un§  atte§  toieber. 

2135  Safj  beine  <5eele  firf;  jum  ^rieben  toenben, 
D  ^onig  !     £>inbre  nirf)t,  ba^  fie  bie  2Beifye 
2)e§  bdterUrf;en  §aufe§  nun  toottbringe, 
SRirf;  ber  entfiit)nten  §aUe  toiebergebe, 
5Wir  auf  ba§  §au^t  bie  alte  ®rone  briide! 


94  3pf)igenie  auf 

2140  SBergitt  ben  ©egen,  ben  fie  bir  gebradfjt, 
Unb  lafj  be§  ncib,ern  9tedb,te§  micfy  geniefjen! 
©ehwlt  unb  Sift,  ber  banner  fyocfyfter  Sftufym, 
SBirb  burcb,  bie  2Babrb,eit  biefer  b,ob,en  ©eele 
Sefcfydmt,  unb  reined  linblid^  SSertrauen 

2145  3u  einem  ebeln  Slanne  totrb  beloi>nt. 


an  bein  2Bort,  unb  lafj  burd^  biefe 
2lu§  einem  g'raben  treuen  2Runbe  bid) 
Setoegen!     ©ie^>  un§  an!    £>u  ^aft  ni^t  oft 
3u  folder  ebeln  %fyat  ©elegenf)eit. 
2150  SSerfagen  fannft  bu'§  nic^t;  getod^r'  eg  balb! 

SC  fy  o  a  8. 


enie. 

9Zid>t  fo,  mein  $onig!    D^ne  ©egen, 
3n  SStbertmtten,  frf)eib'  id^  nic^t  toon  bir. 
SBer&ann'  un§  nid^t!     @in  freimblicfy  ©aftred^t  toalte 
Son  bir  ju  un§:  fo  finb  n)ir  ntd^t  auf  etoig 

2155  ©etrennt  unb  abgefdjieben.     2Sertt>  unb  tb,euer, 
2Bie  mir  mein  SSater  tear,  fo  bift  bu'3  mir, 
Unb  biefer  ©inbriuf  bleibt  in  meiner  ©eele. 
SBringt  ber  ©eringfte  beine§  35ol!e§  je 
2)en  ^£on  ber  <Stimme  mir  in'§  D^r  guritcf, 

2160  Sen  icb,  an  eudE)  getoofynt  ju  b,oren  bin, 
Unb  feb/  ic^  an  bem  Sfrmften  eure  Xracfyt; 
@m^)fangen  toitt  ic^  ib,n  h)ie  einen  ©ott, 
S4>  toM  ib,m  felbft  ein  Sager  gubereiten, 
2luf  einen  ©tub,!  ib,n  an  ba§  §euer  laben, 


gflnfter  Stufjiig.    @erf)fter  2luftritt.  95 

2i$s  Unb  nur  narf>  bir  unb  beinem  ©rfncffal  fragen. 
D  geben  bir  bie  ©otter  beiner  Xfyaten 
Unb  beiner  9JiiIbe  toofylberbienten  Sofyn ! 
Seb'  U)of)l!     D  toenbe  bid^  ju  un§  unb  gib 
(Sin  fyolbeS  2Bort  beg  2(bfdjieb3  mir  juriidE ! 

2170  £)ann  fd^toettt  ber  2Binb  bie  <5egel  fanfter  an, 
Unb  ^rcinen  fliefjen  linbember  t»om  3luge 
3)e§  ©cfyeibenben.    2eb'  too^I !  unb  retcfye  mir 
3um  ^Sfanb  ber  alien  $reunbfcfyaft  beine  Stec^te. 

X  $  o  a  $. 
Sebt 


NOTES. 


ACT  I. 

The  scene  is  the  sacred  grove  before  the  temple  of  Diana,  where,  as 
in  Euripides'  Iphigenia  among  the  Tauri,  the  entire  action  takes  place. 
The  opening  monologue,  that  replaces  the  announcement  with  which 
the  Greek  tragedy  begins,  is  essentially  lyric  in  its  feeling,  an  expression 
of  the  sense  of  awe  and  exile  which  Iphigenia  experiences  from  her 
surroundings,  and  from  which  she  naturally  reverts  to  memories  of  the 
past  and  to  her  own  aspirations.  It  is  an  admirable  introduction,  for 
it  presents  the  facts  necessary  to  the  comprehension  of  the  plot,  hints 
at  its  final  solution,  and  at  the  same  time  strikes  the  note  of  deep  ethi- 
cal and  spiritual  quality  that  so  especially  characterizes  the  drama. 

7.  <3o  miUtrf)C0  $oljr.  The  statement  of  time  is  indefinite.  Like 
the  Homeric  Helen,  Iphigenia  is  represented  as  still  young  and  beauti- 
ful, though  when  sacrificed  at  Aulis,  during  the  infancy  of  Orestes,  she 
was  no  longer  a  child. 

12.  In  the  earlier  versions  this  verse  read,  betm  meitt  33erlangett 
ftebt  hiniiber  nad)  bem  fdjonen  £anb  ber  ©riedjen.  The  thought  may 
well  have  been  prompted  by  Goethe's  own  desire  for  Italy,  of  which  he 
afterward  wrote,  5)a§  j&iel  meirter  tnnigfien  ©ehnfucht,  beren  dual 
mein  gangeg  3nnere«  erfiillte,  ttmr  Statien,  beffen  S3ilb  unb  ©fetch* 
nifj  mir  Oiele  3abre  DevgebenS  Borfchroebte,  bi«  id)  enblid)  burdj 
fiibnen  Sntfdjtuf?  bie  nnrttidje  ©egeuroart  ju  faffen  mid)  erbmftete. 
H.  25:  127. 

13-14.  These  two  lines  were  evidently  suggested  to  the  poet  by  the 
sound  of  the  waves  on  Lake  Garda,  where  he  began  the  final  revision. 

ABBREVIATIONS.  —  Cf.,  compare,  see.    Wk.,  Goethe's  Works,  Weimar  Edition. 
H.,  Goethe's  Works,  Hempel  Edition.    All  citations  of  the  earlier  versions  are  from 
Baechfold's  edition  MI  vierfacher  Gestalt.     , 
97 


98  NOTES. 

He  speaks  in  his  letters  and  journals  of  the  impression  the  lake  made 
upon  him.  Cf.  Wk.  III.  &btb,.  i  :  182. 

16.    $l)m  JCljrt .  .  .  tt)Cg.     The  change  from  the  prose  version,  which 

read,  ib,n  Ififtt  ber  (§ram  be§  fdjonflen  @r,iicfe§  nirfjt  geniefjen,  shows 
that  the  poet  intended  to  suggest  by  his  metaphor  the  story  of  the  pun- 
ishment of  Tantalus.  Cf.  Homer,  Od.  1 1 :  585. 

21.  WitflCbontc,  i.e.  ®ejd) ttnfter.  The  word  is  formed  after  the 
analogy  of  Gr.  aiiyyovot,  Lat.  cognatus.  Goethe  uses  it  several  times; 

cf.  in  SBilhelm  SPWfter  the  phrase  bie  Siebe  ber  2JHtgebornen,  H.  17: 
86. — The  comparative  form  feft  Uttb  fcftcr  is  poetical  for  immer  fefter, 
or  for  fefter  linb  feftev  j  a  similar  instance  is  found  in  1691.  In  classical 
literature,  as  in  the  Bible,  the  fraternal  relation  indicates  especial 
tenderness. 

as.  3d)  redjte  nttt  ben  ©OttCtn  ntd)t,  /  do  not  reproach  the 
gods.  The  same  idea  is  expressed  in  the  biblical  question,  "  Who  art 
thou  that  repliest  against  God?"  Rom.  9:  20,  which  in  the  Lutheran 
version  reads,  SBer  bift  bit  benn,  bag  bit  mit  ©ott  redjten  ttriflft,  and 
may  be  so  translated.  Cf.  Heyne's  Dictionary  under  redjten. 

24.  $etr  3fr<wen  ^Wftatlb,  woman's  condition.  The  definite  article 
gives  the  idea  of  generalization,  and  the  noun  shows  the  old  weak  in- 
flection in  the  feminine  singular.  This  is  unusual  in  eighteenth-century 
prose,  but  was  tolerated  in  exalted  poetic  style,  and  Goethe  uniformly 
inflects  ^rctlt  thus  in  this  drama,  when  it  precedes  its  noun;  when 
following,  cf.  214,  2070,  his  usage  is  divided. 

30.  3ct)OH,  which  has  here  somewhat  the  sense  of  in  itself,  empha- 
sizes the  limits  of  the  restricted  position  accorded  to  woman,  and 
raitl)  in  this  connection  is  best  rendered  stern.  Grimm  cites  in  SIau= 
bine  con  SBiHa  33efla  the  line,  2Jiein  SSater  ftmr  etn  ftrenger  rauber 
2Kann,  Wk.  11:213.  Translate,  even  obedience  to  a  stern  husband. 

39.  Oltf  bid)  flCljofft,  trusted  in  thee.  Cf.  the  words,  3Mn  ©ott,  id) 
Ijoffe  OUf  bid),  Ps.  25  :  2,  which  are  rendered  in  the  authorized  ver- 
sion, "  O  my  God,  I  trust  in  thee."  See  also  Grimm's  Dictionary  under 
Doffen,  c. 

45.  SBcmt  bit  is  merely  a  rhetorical  repetition  of  the  condition  ex- 
pressed in  43,  which  subordinates  both  juriictbeglettet  and  erljdlten 
bajit  ;  it  is  omitted  in  translation.  The  epithet  gbttergteidjen  recalls 
the  Greek  Io66eoc  (compound  of  t<rof  =  same  as,  in  appearance  or 


ACT   I.  99 

strength,  and  6eo£  =  god),  and  like  it  refers  to  nobility  of  appearance. 
Goethe  uses  it  repeatedly  in  the  drama. 

50.  Tie  frfjottcn  ©dja^C  has  been  taken  as  the  appositive  of  the 
preceding  line,  but,  as  Evers  remarks,  the  earlier  versions  seem  to  in- 
dicate the  possessions  in  the  treasure-house  of  Athens.  Cf.  the  reading, 
haft  bu  nteine  ©efdjnnfter  (Sfeftren  intb  Oreften  ben  $naben  unb  unfere 
2)hitter,  ifjm  ju  §aufe  ben  fcfjbnen  @c^at^  beroa&rt. 

51-53.  These  lines  contain  an  evident  reminiscence  of  Euripides, 
Iph.  Taur.  1082  ff.,  which  Professor  Dyer  translates, 

My  mistress,  and  in  Aulis'  glens  my  saviour 
From  horror,  and  a  father's  murderous  hand, 
Save  me  once  more,  save  these,  else  Loxias 
Through  thee  must  lose  men's  credence  in  his  words 
Henceforth.-     Graciously  leave  these  savage  shores 
For  Athens;  dwelling  here  suits  thee  but  ill, 
Free  to  sojourn  within  a  prosperous  state. 

54.  fceitt,  a  contracted  archaic  form  for  btetet,  or  here  for  erttbtetet. 
Such  forms  have  been  leveled  by  analogy  with  the  plural,  but  are  some- 
times found  in  poetry.  Cf.  Schiller,  tt)d8  btt  fleugt  unb  freurf)t.  jteH, 
1477.  The  omission  of  the  prefix  ettt=  is  an  instance  of  Goethe's 
fondness  for  using  simple  forms  when  prose  would  require  compounds. 
This  tendency  is  less  marked  in  his  later  works,  and  fewer  instances 
occur  in  the  final  than  in  the  earlier  versions  of  this  drama. 

55-  Tiotteit^.  This  form  of  the  gen.,  which  is  now  unusual,  Goethe 
employs  throughout  the  drama  and,  except  $reufd'§,  1 1 76,  declines  all 
feminine  names  of  persons  in  en.  With  masculines  the  usage  varies, 
but  the  antiquated  dat.  and  ace.  in  en  repeatedly  occur,  as  well  as  the 
gen.  in  en§,  where  modern  usage  would  not  require  it. 

59.  cr  fumtttt  .  .  .  C§  ttal)t.     The  king  will  enter  the  temple,  the 
army  approach  its  precincts.     A  single  verb  for  both  would  have  made 
the  picture  less  definite.     Cf.  1422. 

60.  28tr,     In  using  the  plural  pronoun,  the  priestess  includes  those 
associated  with  her  in  the  temple  service,  though  they  nowhere  appear 
on  the  stage. 

73.   fjefdjmtebet  for  angeichmiebet.    Cf.  54. 

74-77.  Here,  as  often,  Goethe  makes  excellent  use  of  stichomythia, 
a  figure  borrowed  f'om  Greek  tragedy  and  consisting  in  the  arrange- 


100  NOTES. 

ment  of  the  dialogue  in  alternate  lines,  or  groups  of  lines.  1'ropo- 
sitions  are  thus  sharply  contrasted,  and  frequently  the  same  word  is 
used  in  different  senses.  The  same  effect  may  be  secured  in  this 
passage  by  translating  bie  grembe  and  fremb  respectively,  alien  soil 
and  alien. 

81.  $>ie  neuett  ©djojjltttge,  in  explanatory  apposition  with  the 
preceding  line,  expresses  the  fraternal  relation  by  a  poetical  compar- 
ison with  the  olive  branches  that  sprout  from  an  old  tree.  Goethe 
may  have  thought  of  Homer's  comparison  of  Nausicaa  to  a  young 
sapling  of  a  palm  tree,  Od.  6 :  157.  The  biblical  phrase  "  thy  children 
like  olive  plants  round  about  thy  table,"  Ps.  128 :  3,  is  a  similar  usage. 
The  hendiadys  gefellt  llttb  Iteblttt)  for  the  prose,  in  Ueblirfjer  ®efeQ= 
fdjdft,  is  a  classical  figure  that  Goethe  uses  several  times. 

84.  @ttt  frember  S'ltld),  the  curse  on  others.  The  earlier  versions 
which  have,  ba  leiber  in  ba«  Slenb  metnes  §aufe«  frill)  tjerroidelt, 
show  the  nature  of  the  thought.  For  a  similar  use  of  fremb,  cf.  Schil- 
ler's lines, 

3d)  fcmn 

3n  foldjen  Sa<f)en  nur  bem  eiflnen  Strf)t 
9ltd)t  frembem  folgen.  Spiccolomini,  2271  ff. 

86.  Center  is  a  translation  of  the  Gr.  \(&K.toq  =  brazen,  which  Homer 
figuratively  uses  of  the  heart,  II.  2  :  490,  and  of  sleep,  II.  1 1  :  241.     The 
English  phrase  -with  iron  hand  renders  the  idea  of  unrelenting  stern- 
ness that  the  German  expresses.     Cf.  examples  under  iron  in  Century 
Dictionary.     Goethe  frequently  uses  the  epithet.     Cf.  540,  1129,  1680. 

87.  bad  Webctfjcn  .  .  .  %atyt,  the  happy  development  of  early  years. 
©ebeiheit  implies  not  simply  the  idea  of  growth,  but  of  prosperous  un- 
folding and  development  in  all  ways.     Miss  Swanwick  renders  it  by 
"  simple  gladness."    The  thought  is  that  the  joy  and  the  development 
of  youth  depend  upon  happy  intercourse  with  kindred  and  associates, 
and  of  this  Iphigenia  had  been  deprived. 

91.  fo,  i.e.  in  this  respect.  The  thought  is  that  Tauris  has  been  a 
second  fatherland,  and  only  ingratitude  prevents  the  recognition  of  this 
fact  from  arousing  fresh  interest  in  life. 

96.    SBirt^e,  benefactor. 

97-  ttef  fleljCtmtttfeboIIeS,  profoundly  mysterious.  Goethe  fre- 
quently uses  such  combinations,  cf.  etnjam  hiilfloS  162,  geroaltfam 


ACT   I.  101 

IteueS  201,  etc.  Generally  the  first  word  is  to  be  taken  as  an  uninflected 
adjective,  or  the  two  regarded  as  a  compound,  but  sometimes,  as  here, 
it  has  adverbial  force. 

104.  ©tttfCH,  poetically  for  altar.     The  classical  altars  for  burnt 
offerings  were  usually  approached  by  several  steps. 

105.  l&raud)  for  ©ebraudj.     Cf.  54,  note.     Similar  examples  occur 
in  169,  204,  and  often. 

108.  It  was  the  belief  of  the  ancients  that  the  spirits  of  those  to 
whom  proper  funeral  rites  had  not  been  paid  were  denied  rest  in  the 
grave. 

no.  (Jin  friJJjlid)  felbftbCttWfeteS  fieben,  a  life  of  heartfelt  happi- 
ness, 

112-14.  The  Greek  conception  of  future  life  was  pessimistic. 
Goethe  in  the  main  follows  Homer,  cf.  especially  II.  n,  which  describes 
the  descent  of  Odysseus  into  hell.  The  Lethe,  however,  is  chiefly  a 
Latin  conception,  and  is  not  mentioned  by  Homer. 

114.  feiert,  pass  idly.  The  same  meaning  of  the  verb  occurs  in  the 
compounds  getertag  and  gtfierabenb,  and  Goethe  makes  Egmont  say, 
<£«  ift  ein  itbleS  .Seicfjen,  roenn  3br  an  SBerftagen  feiert.  Wk.  8 :  210. 

116.  The  thought  of  this  line  is  more  clearly  expressed  in  the  earlier 
versions.  The  second  prose  version  reads,  ©ettJobnUcft,  ift  bie§  eineS 
SBetbeS  ©djicffal  itnb  oor  alien  meinS. 

124.    ©Chi  ScbCtt  bllttenb  Ifijjt,  falls  a  bleeding  sacrifice. 

131-32.  The  introduction  of  this  figure  belongs  to  the  final  revision, 
the  earlier  texts  reading,  @inb  unfere  SBaffen  nicfct  gtanjenb  btefe  3«U 
an  @egen,  @tarf  Itnb  OliitJ  ?  It  is  probably  best  explained  as  poetic 
personification,  for  no  classical  representation  embodies  just  this  con- 
ception, though  the  idea  of  Victory  as  a  winged  goddess  is  common 
enough.  The  second  question,  cilt .  .  .  Bormt3,  indicates  the  panic- 
stricken  flight  of  the  enemy  at  the  army's  approach. 

137.  CttctdjtCtt,  i.e.  he  makes  reasonable  demands  that  can  be  wil- 
lingly fulfilled. 

138.  UOlt  beiltent  SBefcn  .  .  .  troufelt,  from  thy  being,  balm  is  dif- 
fused on  thousands,  i.e.  the  salutary  influence  (igalfam)  of  her  real 
character  (SBefeit)  upon  the  king  is  indirectly  felt  by  all  his  subjects, 
in  his  greater  leniency  toward  them.     With  the  following  four  lines 
this  passage  recapitulates  the  whole  speech. 


102  NOTES. 


142.    unwirtljborcn,  inhospitable. 

144-45.  The  general  thought  expressed  by  this  passage  is  the  in- 
adequacy of  achievement  compared  with  ideal  aims,  but,  in  the  light 
of  Iphigenia's  purpose  of  returning  home  and  expiating  the  crimes  of 
her  race  (cf.  1699  ff.)»  it  acquires  specific  meaning.  Whatever  she  has 
done  in  Tauris  is  insignificant  compared  with  that.  This  thought  also 
explains  her  reserve  toward  the  Taurians  and  her  anxiety  at  the  king's 
suit. 

148-53.  The  connection  of  thought  in  this  passage  may  occasion 
some  difficulty.  The  first  two  lines  sum  up  the  preceding  dialogue 
and  imply  a  reproof  of  pride;  then  the  words  glaitb'  tnir  refer  to  what 
has  been  urged  about  the  duty  of  gratefully  enjoying  life  and  its  ac- 
tivities, while  pr'  auf  eineg  2JJanne«  SBort  has  more  particular  refer- 
ence to  the  direct  admonition  that  follows. 

164.    fei?t  .  .  .  Sot-jug,  sets  no  value  on  fine  speeches. 

167-68.  tlOtt  SBcttettt  ...  §U  leitf  Clt,  of  bringing  around  a  conver- 
sation, slowly  and  skilfully,  from  a  remote  subject  to  his  own  purpose. 

174.  bet  fdjrerfUdjfte,  because  a  union  with  the  king  would  forever 
prevent  her  return.  Cf.  144—45,  n°te- 

180.  06  erT3  flleidj  by  tmesis  for  obgUtdf)  er'8,  a  figure  common 
both  in  prose  and  poetry. 

187.  JJuft,  which  was  introduced  in  the  final  version,  greatly 
strengthens  the  appeal.  It  may  be  imitated  in  English  by  rendering  it 
give  and  the  following  iibertajj  give  over. 

190-91.  bit  ...  benfcft.  In  translating  supply  and  before  this 
clause,  making  the  verb,  like  reife  and  bringe,  depend  upon  bamit. 
The  prose  version,  which  has  only  bamit  bu  nid)t  £11  jpa't  an  trteinen 
9fatl)  mtt  Steite  beitfft,  shows  that  such  was  the  thought. 

I93~94-  bent  .  .  .  lliiubijJCt,  whose  heart  reverence  for  the  gods 
restrains.  Cf.  in  988  the  phrase,  bdnbtge  bein  §erj.  The  words  53ltfen 
and  £erj  are  used,  as  their  English  meanings,  to  denote  mental  qual- 
ities, especially  passions  and  emotions. 

201.  ©in  gettwUfaitt  tteUC3  SSUtt  is  interpreted  in  two  ways. 
Diintzer  and  Denzel  understand  getfaltfam  netteS  to  mean  renewed  by 
passion.  Other  critics  take  neue«  in  the  sense  of  jungeS,  which  was 
avoided  on  account  of  the  following  S'iinglingStfjat.  This  would  make 
the  phrase  mean  an  impetuous  youthful  temper,  and  this  seems  to  ac- 


ACT   I.  103 

cord  better  with  the  prose  version  which  has  fold)  rafdje  3ungltng8tl}at 
berrfdjt  nidjt  in  £boa«  SSlut. 

213-14.  These  lines  form  a  familiar  quotation  that  perhaps,  without 
reading  too  much  between  the  lines,  may  be  referred  especially  to  one 
of  the  deepest  and  tenderest  experiences  of  Goethe's  own  life,  —  his 
friendship  for  Frau  von  Stein  and  the  strong  influence  that  she  exerted 
upon  him. 

219.  mit  SSoljrljeU.  The  earlier  versions  have  Serleib'  2ftiner&a 
mir  oafj  id)  fage,  roa«  ibm  gefdltt.  The  insertion  of  the  words  mtt 
SSabrbeit  emphasizes  the  ethical  conception  of  Iphigenia's  character, 
which  the  poet  especially  sought  to  bring  out  in  the  final  revision.  In 
his  journal  he  remarks  concerning  a  picture  of  St.  Agatha  by  Raphael 
that  he  saw  at  Bologna,  3d)  Ijabe  mir  fte  ttiobl  getnerft  unb  toerbe  biefem 
3beal  meine  3pfjigenie  Dorlefen  unb  tneine  §elbin  nid)t«  fagen  laffen 
roaS  biefe  $eilige  nid)t  fagen  fonnte.  Wk.  III.  Slbtb.  i :  306. 

223.  Uttb  .  .  .  tfitlle,  every  -worthy  wish  in  rich  profusion.  giiHe 
denotes  plenitude  and  superfluity,  and  makes  the  expression  very 
strong;  Strehlke,  however,  takes  it  in  the  sense  of  (Stfullung,  for 
which,  as  an  unusual  sense  of  the  word,  Sanders  cites  a  passage  from 
Klopstock. 

226-30.  Weber  and  Denzel  understand  the  colon  after  rflbmte  to 
mark  what  follows  as  the  eulogy  that  Thoas  desires  from  his  people. 
Goethe,  however,  sometimes  uses  the  colon  simply  as  a  stop  with  value 
between  a  comma  and  a  period,  and  if  so  regarded  here,  a  more  logical 
interpretation  results.  The  passage  becomes  the  king's  reply  to  each  of 
Iphigenia's  three  wishes :  if  his  people  praise  him,  he  desires  no  further 
victory  and  renown;  his  wealth  others  enjoy  more  than  he;  household 
happiness,  however,  is  his  sincere  desire,  and  this  thought  leads  to  the 
purpose  of  his  coming.  Cf.  Herrig's  Archiv  71  :  293  ff.  and  73:  237. 

237.  gerodjCH.     The  verb  rfidjen,  originally  strong,  is  now  conju- 
gated weak;  this  form  is  retained  for  poetic  effect. 

238.  ntdjttf,  bo3.     Common  usage  demands  tua8  after  the  indefinite 
pronoun,  arid  it  is  found  in  the  earlier  versions.     The  reason  for  the 
change  is  not  clear,  but  Goethe  sometimes  prefers  this  form.     Cf.  in 
£a[fo,  the  phrase,  S5iete8  traf  gufammen  bas  id) ...  nutjen  fonnte, 
Wk.  10:   129.     Schiller   and     Lessing    occasionally    present   similar 
examples. 


104  NOTES. 

245-46.  ttttt  @ieg  .  .  .  banfett.  The  clause  is  to  be  taken  with 
betrat,  as  the  prose  versions  show.  They  read,  9?un  fomm'  id)  f)ierher 
in  biefen  Sempel  too  idj  fo  oft  itm  @teg  gebeten  unb  fiir  @ieg  gebanft, 
ntit  einem  SBerlangen,  11.  f.  ». 

255.  SInfttttft.  Part  of  the  editions  read  Slbfmtft,  but,  as  Strehlke 
remarks,  the  connection  supports  the  former  reading.  The  mystery 
of  her  arrival  can  only  be  explained  by  the  story  of  her  descent. 

358.  bod  ©efetj  refers  to  the  statutes,  btC  -Wotl)  to  the  political  ne- 
cessity that  dictated  them.  The  establishment  of  foreign  colonies 
along  the  coast  might  result  in  alienating  the  sovereignty. 

260-61.  The  expression  froitttttCJt  !Hcd)t3  refers  not  merely  to  the 
sacred  rights  enjoyed  by  the  priestess,  but  to  the  broader  claims  of 
hospitality.  This  is  clear  from  the  prose  which  reads,  aHeitt  toon 
bir,  bie  ftd)  be8  riibtnen  fann,  toamm  toergebenS  an  bent  raithen 

lifer  ber  grembc  feufjt,  U.  j.  to.  In  this  connection  the  original  mean- 
ing of  ©aft,  a  stranger  (cf.  Ety.  which  connects  it  with  Lat.  hostis), 
seems  to  color  the  thought.  The  same  meaning  occurs  in  the  Bible 
verse  3d)  bin  ein  ©aft  ailf  (Srben,  Ps.  119:  19,  which  reads  in  the 
authorized  version  "  I  am  a  stranger  in  the  earth."  The  apposition  of 
the  clause  ein  ...  @ofl  with  the  implied  relative  subject  of  erfreut  is 
shown  by  supplying  and  as  before  it. 

262.  Xage£,  life.  The  word  day  is  used  in  the  same  sense  in  the 
English  phrase,  in  his  day  and  generation.  In  German  the  plural  is 
more  often  used  in  this  sense,  and  Goethe  writes  im  §erbft  meiner 
Stage.  11.33:405. 

a66.  $fllt$,  here  in  the  sense  of  ®efd)led)t.  Cf.  the  similar  very 
common  use  of  house  in  English. 

268-69.  meld) .  .  .  fd)iti?cft,  what  accursed  being  thou  dost  cherish 
and  protect.  §aupt  is  used  by  synecdoche,  just  as  the  Greek  often 
uses  «e0aA#  =  head.  The  use  of  head  in  the  same  sense  is  hardly 
possible,  though  the  biblical  phrase  "  heap  coals  of  fire  upon  his 
head,"  Prov.  25 :  22,  is  somewhat  similar.  The  use  of  na'hrft  was  per- 
haps suggested  by  Voss's  translation  of  rps^siv,  Od.  5  :  135.  Iphigenia 
says  »erttmnfd)t,  because  she  feels  herself  the  victim  of  the  curse  upon 
her  race.  Cf.  84,  note. 

276.  (Slettb  signified  originally  foreign  land  and  banishment  or  the 
wretchedness  of  exile,  but  now  only  misery  or  wretchedness  in  general. 


ACT   I.  105 

The  older  meaning  was  common  when  Goethe  wrote,  and  as  the  prose 
versions  show,  he  seems  to  have  associated  that  idea  with  it.  The  first 
prose  version  reads,  in  denbfd)roetfeHbe  23erbammni§  mid)  berftojjen, 
and  the  second,  in  fdjroetfenbeg  bau§fofe§  (Slenb  mid)  Derftofjen. 

279.  Math,  counsel.  The  use  of  the  word  in  this  sense  Grimm  gives 
as  primarily  biblical ;  it  is  also  parallel  with  the  Greek  use  of  f3ov^  = 
counsel,  which  was  especially  used  of  the  gods. 

282.    frommen,  blameless. 

298.  nteljr  Ol3  (Jilt,  i.e.  not  only  as  king,  but  through  her  own 
gratitude  and  as  her  divinely  constituted  protector. 

306.  According  to  the  legend  making  Tantalus  a  Lydian  or  Phrygian 
king,  as  well  as  the  one  connecting  him  with  Zeus,  Thoas  might  have 
been  familiar  with  his  story,  though  Goethe  simply  assumes  the  fact 
without  providing  for  its  dramatic  probability.  The  following  table 
shows  the  relationship  of  his  descendants,  as  far  as  involved  in  this 
drama. 

Tantalus 


I 
Atreus 
1 

1 
Thyestes 

1 

Aegisthus 

Clytemnestra-Agamemnon          Menelaus-Helen 
I 

Electra 

1 
Iphigenia        Orestes 

307.    <jrojje3  in  the  sense  of  inbaltfdjWereS,  momentous. 
312-13.    bcffcn  .  .  .  (iJefpracf)en,   whose  words  of  sage  experience 
fraught  with  deep  wisdom. 

321.  3>onttrerd.     The  epithet  is  based  on  the  Homeric  usage  that 
everywhere  attributes  the  thunder  to  Zeus,  and  repeatedly  uses  of  him 

=  delighting  in  thunder,  and  as  an  appositive  attribute 
=  the   lofty    thunderer.       Cf.    also    the    Latin,    Jupiter 
Tonans. 

322.  SBcrgcljen.     The  classical  legends  variously  represent  the  crime 
of  Tantalus ;  that  he  sought  to  test  the  omniscience  of  the  gods  by 
serving  to  them  his  own  son;  that  he  betrayed  their  secrets;   that  he 
gave  nectar  and  ambrosia  to  mortals.     Goethe  rejects  such  ideas,  and 


106  NOTES. 

implies  that  his  exalted  station  corrupted  his  noble  nature  into  boastful 
haughtiness,  and  further  represents  this  fault,  exaggerated  in  his  pos- 
terity, as  involving  them  in  crime  and  drawing  upon  them  the  curse  of 
the  gods.  With  this  interpretation  agrees  a  well-known  passage  in 
2)tcJ)tung  unb  SBabrfjett,  ,,©od)  aucf)  trie  fubneren  iene«  ©ejd)lecf)ts, 
£antalu«,  3jion,  ©iftphits  roaren  meiue  §ettigen.  3n  bie  ©efeltfttjaft 
ber  ©otter  aitfgenommen,  molten  fte  ftd)  nirf)t  untergeorbnet  genug 
betragen,  al«  iibermutige  ©a'fte  ibreS  ttrirtblichen  ©onnerS  £ovn  toer= 
btent,  unb  fid)  eine  traiirige  SSerbannung  jugejogen  baben."  Wk. 
28:314. 

324.  300t3,  Latin  genitive  of  Jupiter. 

325.  beS  altCtt  SartartlS.     Homer,  II.  8 :  13,  places  Tartarus  as  far 
beneath  Hades  as  heaven  is  high  above  the  earth,  and  hence  it  is 
thought  of  as  the  oldest  part  of  creation,  and  the  abode  to  which  Zeus 
doomed  the  conquered  Titans. 

328-29.  biC  .  .  .  2Jlarf,  the  -violent  spirit  and  the  mighty  strength 
of  the  Titans.  This  passage  first  occurs  in  the  second  prose  version, 
where  ftie  position  of  ber  Xittttten  shows  that  it  belongs  to  both  nouns. 
For  3JJarf,  lit.  marrow,  in  the  sense  of  strength,  cf.  Schiller,  ,,2J?ein 
SBater  bat  ba«  2J?arf  eineS  £ott>en,"  2)ie  SJauber  2:  i.  The  Titans 
were  an  older  race  of  gods  that  revolted  against  the  rule  of  Zeus,  and 
were  conquered  by  him.  Tantalus  was  not  among  their  number,  but 
was  descended  from  Oceanus,  whom  Hesiod  makes  the  oldest  of 
them. 

330-31.  The  figure  is  conceived  in  the  'classical  spirit  and  recalls 
the  lines  of  Horace, 

l///*  robur  et  aes  triflex 
Circa  pectus  erat.     Odes  1:3:9, 

but  Goethe  thought  of  rashness  inclining  to  insanity  rather  than  hardi- 
hood. Cf.  letter  to  Schiller,  Aug.  19,  1797.  Taken  in  this  sense,  the 
following  lines  explain  the  meaning,  the  word  SJatb,  having,  according 
to  Grimm,  the  sense  of  liberlegung  or  SBebacbtfamfeit. 

338.  SBerratfy  UUb  9)lorb.  In  the  story  of  Pelops,  Goethe  follows 
Hyginus,  Fab.  84,  who  relates  that  Oenomaus,  whose  death  at  the 


Oak  and  brass  of  triple  fold 

Encompass'd  sure  that  heart.  Conington. 


107 


hands  of  his  son-in-law  the  oracle  had  foretold,  compelled  his  daugh- 
ter's suitors  to  compete  with  him  in  a  chariot  race,  and  having  swifter 
horses,  defeated  and  beheaded  them.  When  Pelops  appeared,  he  bribed 
Myrtilus,  the  charioteer,  to  leave  the  chariot  wheels  unfastened,  and 
the  king  was  thus  thrown  out  and  killed.  Pelops  afterward  refused  to 
divide  the  kingdom  with  Myrtilus,  as  he  had  promised,  and  threw  him 
into  the  sea. 

339.  Before  the  Stuggabe  tester  §anb  the  reading  of  this  line  was 
S)e8  O'noma'uS  £o'd)ter  §i'ppoba'ntie'n,  with  the  metrical  accents  as 
marked.  The  change  was  evidently  made  to  suit  the  Greek  accent 
Otvopaof,  an  improvement,  though  the  line  still  contains  six  accents. 
The  use  of  (Srjeitgte  in  this  sense  is  unusual,  but  Platen,  5lbafftben 
2:  133,  uses  the  masculine  form  in  the  sense  of  ©ofytt. 

341.  lirillf|t  in  the  sense  of  gebciren.  It  occurs  again  in  404  with 
the  same  meaning. 

343.  ttwdjfettb,  as  the  prose  version  shows,  is  to  be  taken  with  @obn 
and  not  with  giebe.  The  reading  is,  benen  nod)  etn  33niber  au« 
einem  anberen  S3ette  tm  SBege  ftebt. 

348.  Clttlctbt.  Goethe  follows  Hyginus,  Fab.  85;  other  sources 
give  a  different  version. 

351.  gebenft.  The  use  of  gebenfen  and  of  benfett  with  the  genitive 
or  with  the  accusative  is  common  in  poetry.  Cf.  475,  601,  1765,  2117. 

355.  These  lines  may  be  regarded  as  an  embodiment  of  the  lex 
continui,  which  was  a  central  idea  with  Leibnitz  and  found  some  ac- 
ceptance with  Herder.  Cf.  Eng.  Hist.  Rev.  I  :  19. 

365.  lange.  The  prose  reads,  ber  tucftfd)  Icmge  fcf)on  einen  @obn 
be§  33ruber§  enttnanbt.  The  separation  of  the  two  adverbs  makes 
each  more  emphatic. 

374.  trmtf  HCU,  here  frenzied.  The  expression  is  admissible  only 
in  highly  poetic  diction.  The  prose  versions  have  simply,  erfobrt  er 
toen  er  itmgebracfyt. 

383.  bo,  as,  with  temporal  force  that  extends  over  the  three  follow- 
ing verbs  and  corresponds  to  a  demonstrative  btt  (then),  that  is  under- 
stood before  ttnrft. 

384-87.  cittC  SBeljlttltt  .  .  .  glaitbt.  These  lines  occur  only  in  the 
nnal  revision,  and  were  evidently  suggested  by  Seneca's  tragedy, 
Thyestes;  cf.  especially 


108  NOTES. 

1  Quis  hie  tumulus  viscera  exagitat  tnea? 
Quid  tremuit  intus?  sentio  impatiens  onus. 
Meumque  gemitu  non  meo  pectus  gemit. 
Adeste,  nati,genitor  infelix  vocat, 
Adeste,  visis  fugiet  hie  vobis  dolor  — 

Unde  oblocunturl 

Thyest.  999-1004. 

387.  The  irregularity  of  the  verse,  which  has  only  four  accents,  ii 
expressive  of  Iphigenia's  horror  at  the  event  she  narrates. 

390.  @0  WCUbctC  btC  <S0ltnT.  One  of  the  choral  odes  in  Euripides 
I  ph.  Tau.  192  ff.,  presents  a  similar  picture;  "and  the  sun-god  witl 
winged  careering  steeds  turned  from  his  place  and  changed  his  ligh 
divine."  Coleridge. 

393.  bcr  9Konner.  The  prose  versions  have  btefet  UltfeHgert 
showing  that  the  allusion  is  specifically  to  other  and  subsequent  crime: 
of  Atreus  and  Thyestes. 

395.  5Rad)t  .  .  .  ftitttgett.  Perhaps  the  Miltonic  phrase  (cf.  P 
Reg.  I  :  500),  night  with  her  sullen  wings,  will  best  render  the  idea 
gltttge  for  5^8e^  belongs  to  lofty  poetic  diction,  and  the  prose,  bi 
fhtftre  Sfadjt  .  .  .  gebriitet,  suggests  the  idea  of  solitary  gloom  tha 
Milton's  adjective  conveys. 

401—3.  The  thought  expressed  in  these  lines  occurs  first  in  th< 
final  revision  (cf.  219,  note),  and  is  in  marked  contrast  to  the*reproacl 
expressed  in  the  Greek  drama  in  which,  referring  to  her  sacrifice,  sh< 
exclaims, 

Fate  fathered  me  unfatherly  with  woe. 

Iph.  Taur.  865. 

411.  timdj3  in  the  sense  of  t)eratttt)Ud)8.     Cf.  54,  note. 

412.  jirljcnt.      Tranquil  seems  the  best  rendering  of  the  word 
which  here  implies  freedom  from  all  that  agitates.     Cf .  the  literal  sens< 
of  its  Lat.  origin,  securus  =  without  care. 

1  No  English  version  being  at  hand,  the  editor  ventures  the  following  trans 
lation:— 

What  tumult  this  that  stirs  my  very  vitals? 
What  inward  trembling  ?    Restlessly  I  feel  a  weight, 
And  from  my  breast  is  heaved  a  groan  not  mine. 
Approach,  my  sons,  your  sire  unhappy  calls  ; 
Approach !  at  sight  of  you  this  pain  will  flee  — 
Ah!  whence  these  voices? 


ACT    I.  109 

416.  £rojeit#.  An  unusual  form;  Goethe  elsewhere  writes  Xroja'8, 
but  in  878  he  has  2ftt)Cenen«.  Cf.  also  the  form  @uropen«  (by  analogy 
perhaps  with  StjtenS),  which  both  he  and  Schiller  use. 

421.  The  cause  of  Diana's  anger  was,  according  to  Hyginus,  Fab. 
98,  that  Agamemnon  had  hurt  one  of  her  stags,  and  had  spoken  ir- 
reverently of  her.  More  poetical  was  the  thought  of  Euripides :  — 

"Our  armament's  high  admiral  and  lord, 

No  anchor,  Agamemnon,  shalt  thou  weigh 

Till  Iphigeneia's  slaughter  pays  thy  debt 

To  radiant  Artemis  —  thy  vow 

To  offer  up  the  twelvemonth's  loveliest  flower. 

Now  blossoms  out  thy  Clytemnestra's  child 

At  home"  —  and  me  he  deemed  the  loveliest  flower  — 

"  Her  thou  must  sacrifice." 

I  ph.  Taur.  17,  ff. 

423,  lorftCH.  On  pretense  of  marriage  with  Achilles.  Cf.  in  con- 
nection with  this  and  the  following  lines,  Euripides'  Iphigenia  at  Aulis. 

428.  in  Cine  933olfc.  The  idea  is  Homeric,  cf.  II.  3 :  380,  where 
Aphrodite  snatches  up  Paris,  hides  him  in  thick  darkness  and  sets  him 
down  in  his  own  chamber. 

431.  (Sltfel.  The  masc.  form,  instead  of  the  fern.  (Jnfelin,  is  here 
used  for  emphasis.  Cf.  Schiller,  the  words  of  the  queen,  ,,3d)  bin  (Slier. 
$onig,"  Sftoria  ©tiiart,  2451. 

434.  $iittig£t0d)ter.  The  king  fails  to  comprehend  Iphigenia's 
purpose.  She  disclosed  her  secret  only  at  his  promise  not  to  hinder 
her  return,  and  in  conclusion  sought  to  rouse  his  horror  and  repel  his 
suit  by  reiterating  her  descent  and  by  pleading  the  claims  of  the  god- 
dess upon  her.  In  his  infatuation  Thoas  ignores  the  latter  thought, 
and  takes  the  former  simply  as  the  assertion  of  her  own  royal  birth  and 
equal  rank. 

455.  mtrf)  entgegen  .  .  .  fefjltett,  yearn  to  meet.  The  order  is 
poetic. 

459-60.  In  connection  with  f$toube,  lint  instead  of  an  or  itber  is 
unusual,  but  Heyne  cites  its  use  by  Freytag,  @otl  Itnb  £>aben,  I  :  115. 
For  @auP  an  ©ciuten  English  idiom  requires  from  column  to  column; 
Goethe  frequently  uses  such  a  combination  of  the  singular  and  plural 
either  for  greater  distinctness  or  for  more  polished  metrical  finish.  Cf. 


110  NOTES. 

1747  and  Faust,  29  and  4658.  If  Goethe  intended  any  definite  allu- 
sion to  classical  customs,  he  may  have  thought  of  the  announcement  of 
the  birth  of  a  son  by  a  chaplet  of  olive  on  the  door,  or  still  more  to  the 
point,  of  the  adornment  of  the  house  with  garlands  for  the  Amphi- 
dromia  or  festival  to  welcome  and  dedicate  with  religious  rites  the  new- 
born child  and  to  give  him  a  name.  Cf.  Bliimner,  Seben  llltb  ©ttteti 
ber  ©riedjen,  I.  Slbth.  97. 

464.  (juti'tt  9tdtl)£  represents  Goethe's  uniform  usage  in  this  drama, 
though  in  the  2lu8gabe  letter  §anb,  out  of  deference  to  Gottling,  who 
aided  in  its  preparation,  the  strong  form  was  substituted  in  all  cases 
except  in  1164.  The  poet's  preference,  however,  appears  from  a  letter 
to  Gottling,  May  28, 1825,  in  which  he  says,  id)  fann  mid)  ber  g(er>n 
!  oft  lid)  en  @inne§  nid)t  entfdjlagen,  fte  ift  jo  in  tnein  SBefen  oer» 
toebt,  bajj  id)  fie,  ft>o  nid)t  fiir  red)t,  bod)  mir  getnaft  adjten  mnft. 

474.  golbne.  Goethe  repeatedly  employs  this  word.  Its  use  was 
doubtless  suggested  by  the  frequent  occurrence  of  xpiiaeoe  =  golden,  in 
Greek  poetry,  to  denote  great  perfection  or  eloquence, glory,  etc.  The 
English  golden  is  sometimes  used-  in  the  same  sense. 

473.  ttCtt,  cordially,  cf.  the  prose  version  which  read,  ait§  bent 
treuften  §er$en. 

483.  HBaffen.  The  earlier  versions  that  read,  S)a8  WaS  bit  an 
mtr  tabelft  finb  atle  unjere  SBaffen,  make  evident  the  nature  of  the 
thought. 

486.  Uttbefailttt  mtt  mtr  Itttb  birf  i.e.  swayed  by  emotion  rather 
than  reflection  and  judgment.  The  first  prose  version  has,  bu  icdbnft 
au«  iibergvofcer  ©utbeit. 

496.  ©tttrm,  i.e.  ber  ©titrnt  ber  Setbenjdjaft,  which  is  the  prose 
reading. 

503.  3rf|  bin  ettt  SDlettfd),  i.e.  my  conduct  is  natural.  Cf.  the  sim- 
ilar expression  in  the  Templar's  appeal  to  Nathan  to  let  himself  be 
swayed  by  natural  feelings.  ,,33egniigt  (Slid)  bod),  eitt  TOenfd)  Jllfein !" 
Nathan  ber  SSeife,  2183. 

516.  ©utuett,  an  obsolete  weak  plural,  that  Goethe  sometimes  uses, 
generally,  though  not  always,  to  avoid  hiatus  or  for  the  sake  of  rhyme. 
Cf.  gauft,  43i,-i633,  etc. 

523-25.   Cf.  the  similar  sentiment  expressed  by  Euripides, 


ACT   I.  Ill 

Mere  lies  I  deem 

That  talk  of  gods  on  human  flesh  regaled 
At  Tantalus's  board  —  sheer  fancies  these 
Of  people  here  who  cloke  their  slaughterous  mind 
And  make  the  goddess  answer  for  their  sins; 
No  badness  lurks  in  any  god  that  is. 

Iph.  Taur.  386  ff. 

529.  (etd)t  bett>Cglid)er  Serniinft,  wavering  reason,  i.e.  unsettled 
by  change  of  circumstance. 

534.  92td)t$  ©Itte3.  The  unconscious  prophecy  contained  in  the 
king's  expression  of  distrust  is  an  example  of  tragic  irony.  The  figure 
is  often  effectively  used,  especially  in  Greek  tragedy. 

538-60.  The  position  and  lyric  character  of  this  scene  give  it  some- 
what the  value  of  a  choral  ode,  though  in  Greek  tragedy  similar  lyric 
passages  frequently  occur  in  the  expression  of  overwrought  emotion. 
The  verse  is  trochaic-dactylic  tetrameter  and,  except  541,  which  marks 
a  pause  in  the  sense,  uniformly  with  feminine  ending.  The  allitera- 
tion employed  also  increases  its  harmony.  In  its  content  the  scene  is 
a  fervent  prayer,  in  which  Iphigenia  ascribes  all  power  and  wisdom  to 
Diana,  implores  her  present  deliverance  and  concludes  with  an  ex- 
pression ot  devout  trust  in  the  beneficence  of  the  gods  toward  men. 

540.  (4}efrf)trf  is  used  here,  according  to  Grimm,  in  the  sense  of 
@d)i(fjal,  Fate,  to  which  even  the  gods  were  subject.  Strehlke  suggests 
that  Goethe  modified  the  classical  conception  to  emphasize  Iphigenia's 
absolute  trust  in  the  power  of  the  goddess. 

552.  traurigmnunUiijen,  sorrowing  and  in-voluntary,  an  amplifica- 
tion of  the  prose  which  had,  bie  ©eftalt  be8  (Srmorbeten  erfdjeint  audj 
bent  gitfalligen  2Jiorber  jur  bofen  ©tunbe. 

554-60.  Cf.  in  Euripides  the  similar  sentiment  attributed  to  the 
Dioscuri, 

And  through  bright  ether's  levels  moving  on, 
We  succour  not  the  man  of  deeds  unclean, 
But  in  whose  heart  and  life  dwells  holiness 
And  love  of  right,  — when  ills  assault  such  lives 
We  bring  deliverance  and  escape  from  harm. 

Elect.  1349  ff. 


112  NOTES. 

ACT   II. 

564.  JHddjegeifter,  i.e.  the  furies.  After  Orestes  murdered  his 
mother,  the  furies  chased  him  into  exile,  and  the  oracle  of  Apollo  di- 
rected him  to  Athens,  where  he  was  tried  for  murder  and  acquitted  by 
the  casting-vote  of  Pallas.  Part  of  the  furies  were  appeased,  but  the 
others  still  pursued  him,  and  from  them  Apollo  promised  him  release 
if  he  brought  from  Tauris  the  sacred  image  of  Diana  and  set  it  up  in 
Athens.  Cf.  Euripides,  Iph.  Taur.  939-86. 

567-68.  ntit  .  .  .  ©OtterWOrten,  with  the  rich  hope  of  divine  as- 
surance. 

569.  Uttb  Wtttt  erffiflet  ftd)T3.  There  is  more  than  accidental  sim- 
ilarity between  this  passage  and  the  lines  Schlegel  assigns  to  Orestes 
when  he  is  brought  with  Pylades  before  the  priestess, 

3a,  $$9buB.  bu  Ijaft  SRerf»t.    SJein  Kugfrnuft  ift  erfuuet, 
$>er  mein  (Sennffen  l)telt  unb  metnen  Saramer  jttUet. 
S5etn  SBort  ftcf)t  bentnad)  feft.    ®a§  6nDe  meiner  9lotl) 
fSfinb  id)  int  ^empel  Ijier,  obg(etd)  burd)  metnen  Sob. 
Slut  bu,  ntetn  treuftcr  fjfreunb,  berbttterft  mtr  ba§  Sterbeu. 
%d^  roarum  mufe  id)  bi^  jugletc^  tnit  mtr  nerberben  ? 

Dreft  unb  $t)(abe§,  3 :  4. 

571.  ©iJtter^onb.  The  reference  is  not,  as  Buchheim  maintains, 
to  the  gods  in  general,  but  to  Apollo,  to  whom  Euripides  makes  Orestes 
directly  ascribe  his  ruin.  (Iph.  Taur.  975.)  It  was  in  obedience  to 
his  express  command  that  he  avenged  upon  his  mother  his  father's 
murder,  and  by  the  "  divine  hand  that  crushes  his  heart  and  benumbs 
his  mind,"  he  refers  to  the  stoicism  with  which  he  executed  the  deed, 
and  that  now  makes  him  indifferent  to  his  fate. 

579.  Orestes  refers  to  the  murder  of  Agamemnon.  Cf.  891-90x5,  in 
which  the  deed  is  described. 

582.  U)r  is  the  repeated  antecedent  of  the  rel.  bie,  and  nad)  belongs 
with  tyiirettb.  Ye  infernal  beings  that  pursue,  tracking  like  hounds  let 
loose  the  blood,  etc.  The  poet  evidently  had  in  mind  the  picture  of  the 
furies  in  Aeschylus,  where  Clytemnestra's  ghost,  urging  on  the  furies, 
exclaims, 

Thou,  phantom-like  dost  hunt  thy  prey  and  criest 
Like  hound  that  never  rests  from  care  or  toil. 

Eumenides,  131  ff. 


113 


Also  the  words  of  the  furies  as  they  pursue  Orestes, 

For  as  the  hound  pursues  a  wounded  fawn 
So  by  red  blood  and  oozing  gore  track  we. 

Ib.  246  ff. 

588.  Sartoett,  spectres,  cf.  Lat.  larva.  Though  Goethe,  as  noted 
above,  refers  to  the  furies  in  language  suggested  by  the  Eumenides  of 
Aeschylus,  in  which  they  appear  on  the  stage  as  the  chorus,  he  still 
regards  them,  as  Euripides  does  (cf.  Iph.  Taur.  285  ff.),  simply  as  the 
creations  of  Orestes'  disordered  fancy.  From  Schiller's  letter  to  Goethe, 
Jan.  22,  1802,  it  would  seem  that  he  considered  this  a  defect. 

592.  £Baittt§,  more  commonly  used  of  ecclesiastical  process,  is  here 
used  of  legal,  in  the  sense  of  SSerbannung,  proscription  or  exile. 
Goethe  may  have  had  in  mind  the  words  of  Euripides,  who  makes 
Electra  say  of  herself  and  her  brother, 

All  Argos  here  decrees  our  outlawry. 
No  roof  may  shelter  us,  no  heart  receive, 
None  may  accost  us,  we  are  matricides. 

Orest.  46  ff. 

600.  aufjUWinben.     The  reference  is  perhaps  to  the  labyrinth  to 
which  Ariadne  gave  Theseus  the  clue. 

601.  beitfe  .  .  .  belt  Job.     Cf.  351,  note.     The  construction  con- 
veys the  idea  of  making  vividly  present. 

606.  tUCthcitb,  in  consecration,  is  used  adverbially.  The  victim, 
adorned  with  wreaths,  was  brought  to  the  altar  and  sprinkled  with 
lustral  water.  Hair  was  then  cut  from  its  forehead  and  thrown  into 
the  fire,  after  which  it  was  slaughtered.  Cf.  Bliimner,  Seben  uttb  @it= 
ten  ber  ©riecfjen,  II.  $bth.  170.  See  also  Od.  3,  436  ff. 

608-10.    With  this  passage  Seuffert  compares  Wieland's  lines, 

®ocf)  jur  Serjraeiflunfl  finft 
tfein  ebler  'Jftann  tjcrab  !  —  2Bte  ?  roar  Slbmet 
9hd)t  imtner  ein  SSerefjrer 
2>er  ©otter?  —  26o  tft  fetn  SBertrauen 
9luf  tfjre  Waft ! 

aicefle,  3 : 4- 

See  also  Introduction,  and  721—27,  note. 

615-16.  1>e3  fiebCttS  .  .  .  ^aitpt.  Poetical  for  the  idea  that  his 
happiness  was  blighted  by  his  mother's  unnatural  conduct.  That  this 


114  NOTES. 

was  the  poet's  thought  appears  from  the  prose:  3fttr  lag  Me  blinKe 
Sedfe  be«  ?ebcn8  Don  St inbh,eit  an  fdjon  urn  ba«  garte  £aupt.  tlnter 
finer  2Jlutter,  bie  beS  abroefenben  ©emafyts  bergaft,  ttntd)S  id)  gebriictt 
herauf . . . 

629.  ^>i)Uengeifter,  an  epithet  of  the  furies,  but  in  harmony  with 
mediaeval  rather  than  classical  conceptions.  Cf.  also  §oHenjrf)tt)efeI, 

"54- 

632.  flUtCtt  refers  rather  to  energy  and  dutiful  effort  than  to  moral 
quality.  Strehlke  compares  the  use  of  the  word  in  the  lines 

6M  jet  ber  3Keni$, 
fifilfretdj  unb  gut ! 

Wk.  II,  83. 

636.  UlUWlUfl,  in  the  sense  of  Lat.  indignatus,  =  angrily,  to  suggest 
the  murder  that  Pylades  hesitates  to  mention.  It  is  suggested  in  the 
3t.  f.  beut.  llnterridjt  4 :  373,  that  the  poet  may  have  had  in  mind 
Vergil's  verse, 

1  Vitaque  cum  gemitu  fugit  indignata  sub  umbras. 

Aeneid,  12  :  952. 

The  use  of  DrcilS  for  Hades  also  shows  Latin  influence. 

639.  uiorbeit  for  getDOrben.  Except  when  used  as  an  auxiliary,  the 
omission  of  the  augment  is  unusual,  but  as  a  survival  of  older  usage, 
was  less  so  in  Goethe's  day.  Thus,  fpater  war'  e$  fdjlinimer  ftorben, 
occurs,  £affo,  2301 .  Instances  also  occur  with  other  verbs.  Cf.  gangen 
tjl,  Wk.  IV.  Stbt^.  2 : 20,  ift  anfontmen,  Ib.  35,  and  !jab'  id)  friegt,  Ib.  36. 

641-42.  nttt  bit  ...  lebett  mag.  Schlegel's  Pylades  exclaims  in 
similar  words, 

3d)  tnag  fein  anbre»  Seben, 
%1§  ba§  ber  ^immel  tnir  ntit  bit  jugleid)  gegeben. 

Dreft  unb  $t)labe§,  3  :  4. 

644.  bcin  ^ou^.    Cf.  1009-14. 

851.  9Wir  was  inserted,  for  metrical  reasons,  in  the  final  version; 
also  ftd)  before  jeinem  in  716,  and  meinem  after  mtr  in  1703.  The 
combination  is  pleonastic,  and,  though  it  often  occurs  in  the  classic 
writers,  it  is  now  avoided  and  considered  inelegant,  even  in  colloquial 
language. 

1  One  groan  the  indignant  spirit  gave, 
Then  sought  the  shades  below. 


ACT    II.  115 

657.  tierpefteter  SJertriebner,  plague-stricken  outcast.    Goethe's 

purpose  required  only  the  general  idea,  though  if,  as  has  been  sug- 
gested, he  had  leprosy  in  mind,  the  thought  may  be  brought  out  by 
rendering  tterpefteter  leprous. 

663.  ttergiftetC.  Cotter  has  a  similar  passage,  making  his  Orestes 
exclaim  under  like  circumstances, 

TOetn  UnglurfSftcrn  seraiftet  au$  betn  Ceben. 

@leftra,  2 :  i. 

670.  SHjntyerrn,  changed  from  the  dat.  pi.  unferen  Ibnherrn,  which 
was  the  reading  of  the  prose  versions,  but  as  the  description  applies  to 
none  of  the  descendants  of  Tantalus,  probably  best  taken,  as  Strehlke 
suggests,  in  the  collective  sense,  ancestry. 

68 1.  bfittgt,  in  the  sense  of  braitgt.  Goethe  uses  the  two  verbs 
somewhat  indiscriminately.  Cf.  §auft,  495. 

681-96.  The  thought  is  that  remoteness  of  time  and  poetic  fancy 
invest  with  a  peculiar  charm  deeds  that  were  actually  as  trivial  as  our 
own,  and  that  in  emulating  such  ideals  we  forget  the  present,  as  well 
as  the  reality  of  the  past,  and  pursue  only  shadows. 

689.  The  expression  suggests  two  biblical  reminiscences:  fo  ift  e8 
(unfer  ?ebert,)  2Jiithc  unb  2(rbeit  gettefen,  <Pf.  90 :  10,  and  unjer  SBiffen 
ift  @tiicfft)er!f,  i  Sot.  13:9.  The  incomplete  verse  fits  the  sense. 

700.  fo  t)idf  i.e.  avenged  the  murder  of  Agamemnon,  whom,  as 
the  leader  of  the  Trojan  war,  the  Greeks  always  regarded  as  a  national 
hero. 

701.  frolje   Xfjdt.     The  omission  of  the  article  is  poe-tic.     Cf.  in 
Uhland's  Ballad,  2)e«  StingerS  glucf),  45,  the  phrase  '•file  tone  fiifjer 


706.  erftC,  leijtC  Sllft,  supremest  joy.  Sefct,  denoting  degree,  can 
refer  to  either  extreme;  cf.  ber  le^te  $ned)t,  941,  where  it  has  the  sense 
of  humblest.  Success  in  war  was,  as  Strehlke  remarks,  the  heroic  con- 
ception of  human  happiness. 

708.  borf)  WCreljrtcn.  All  the  Greek  tragedians  represent  Orestes 
as  showing  pity  and  hesitation  in  taking  vengeance  upon  his  mother. 

711.  e3  Ollf  .  .  .  gcridjtct.  With  the  preceding  jit  ©rimbe  ge* 
ttdjtct,  which  can  only  mean  utterly  undone,  the  general  sense  of  doomed 
is  perhaps  the  best  rendering.  Heyne,  however,  connects  the  phrase 
with  the  technical  use  of  rtd)ten  in  the  sense  of  lay  a  snare  for. 


116  NOTES. 

713-17.  A  distinctly  modern  conception,  in  accord  with  Goethe's 
own  views  rather  than  with  those  of  the  Greek  tragedians  or  of  Hebrew 
theology.  Cf.  in  SBilbelm  2Mfter'S  SBanberjahre  the  expression,  fo 
bletbt  bie  eigentlidje  Religion  ein  3nnere«,  ja  3nbitribueIIe8,  benn  fte 
hat  ganj  allein  tnit  bent  ©eroiffen  ju  thun, . . .  Wk.  24:  123. 

721-27.  Seuffert  again  (cf.  608-10,  note)  cites  Wieland's  lines,  as 
expressing  a  similar  thought, 

ffiuf  beinen  9Jhitf)  sururf  ! 
3)ie  ©otter  molten ! 
3Ijr  SBetfaU  tft  ber  Sugenb  ©otb ; 
<Sie  fmb  ben  Qfrommen  bolb 
Unb  roerben  bein  ®e|d)t(f 
Salb  umgeftalten  ! 

Wcejk,  3:4. 

722.  Sd)rt)Cftcr,  i.e.  the  image  of  Diana,  as  Pylades  supposes.  The 
reference  is  again  to  the  oracle  that,  for  dramatic  reasons,  the  poet 
only  states  in  full,  cf.  2113-15,  when  the  comprehension  of  its  true 
purport  brings  about  the  denouement. 

739-  jjestottttgett  J)ier  instead  of  gefiifjrt,  the  reading  of  the  earlier 
versions,  emphasizes  the  trust  that  Pylades  reposes  in  divine  beneficence, 
and  so  accords  with  the  higher  ethical  conception  of  the  final  revision. 

745.  ben  ebellt  2JJitUU.  The  passage  involves  no  specific  reference, 
though  the  poet  may  have  had  Hercules  or  some  other  hero  in  mind. 
For  the  expiation  of  guilt  the  oracle  frequently  imposed  superhuman 
tasks,  whose  accomplishment  posterity  celebrated. 

750.  fdjttJCrett  @ttm.  The  reading  of  the  earlier  versions,  Don 
tneiner  @eele,  shows  in  what  sense  ©tint  is  taken.  The  change  was 
probably  made  for  the  sake  of  the  strong  alliteration  with  @d)tt)inbet. 

765.  A  sentiment  frequently  expressed  in  Greek  literature.  Cf.  the 
lines  in  Sophocles, 

Neop.     Dost  thou  not  count  it  base  to  utter  lies  ? 
Odys.     Not  so,  when  falsehood  brings  deliverance. 

Philoctetes,  108  ff. 

With  some  Homeric  touches,  the  character  of  Odysseus  in  Philoctetes 
seems  to  be  the  prototype  of  Goethe's  Pylades. 

777-  font  ©tamm  ber  9Jmasonett.  The  earlier  versions  read,  bdfj 
fte  eine  ber  gefliicfjteten  2tma5onen  fei.  The  passage  is  a  free  adaptation 


117 


of  the  classical  belief  in  the  Amazons,  no  legend  recounting  any  special 
flight.  It  was  perhaps  suggested  by  the  location  of  Tauris,  opposite 
the  reputed  land  of  the  Amazons. 

801.  gefiiljdid).     Goethe  had  in  mind  the  words  of  Euripides, 

Set  free  these  strangers'  arms 

No  bonds  must  hamper  heaven's  devoted  prize. 

Iph.  Taur.  468  f. 

802.  Clld),  referring  to  both  captives. 

803-4.  The  passage  was  undoubtedly  suggested  by  the  lines  of 
Sophocles, 

O  dear-loved  sound  !    Ah  me !  what  joy  it  is 
After  long  years  to  hear  a  voice  like  thine ! 

Philoctetes,  234? 

The  Greek  Pylades  uses  the  word  2Jiutterfprad)e  by  dramatic  con- 
vention; except  for  comic  effect  (cf.  Shakespeare's  Henry  V,  and 
Lessing's  Minna  von  Barnh elm),  diversity  of  language  is  not  recognized 
on  the  stage. 

824.  HU0  $reta.  The  dramatic  use  of  this  motive  may  well  have 
been  suggested  by  Schlegel's  employment  of  such  an  invented  tale  in 
his  Oreft  itnb  ^5ty(abe§,  I  :  4.  The  location  and  the  semblance  of  truth 
are  probably  imitated  from  the  stories  told  by  Odysseus  (cf.  Od.  13 :  256 
S.,  also  14:  199  ff.  and  19:  165  ff.),  but  the  incidents  as  well  as  the 
names  were  freely  invented. 

831.  be3  33ater3  Srflft,  our  mighty  father.  The  phrase  imitates  a 
common  Homeric  metonymy;  cf.  jBiqv  Ato^deof  =  mighty  (lit.  might 
of)  Diomedes.  II.  5  :  781. 

849.  $0d)  fdjone  feinct.  See  Introduction,  and  cf.  the  words 
that  Gotter  makes  Iphise  say  of  Electra  in  similar  circumstances, 

Stfcont  tfjrer ;  bafj  ben  ©eifl  nidjt  biefer  Sturm  jerrutte. 

862.  Sarbaren,    i.e.  in  the  sense    of  Gr.  /Sap/Japof  =  foreign,   a 
word  that  was  used  with  special  reference  to  those  that  did  not  speak 
Greek. 

863.  Achilles  is  mentioned  first,  not  only  as  the  foremost  of  the 
Grecian  heroes,  but  because  it  was  under  pretence  of  betrothal  to  him 
that  Iphigenia  was  brought  to  Aulis  and  sacrificed.     His  friend  was, of 
course,  Patroclus;   cf.  II.  16:  873  ff.  for  the  description  of  his  death. 


1  18  NOTES. 

864.  ©StterbUber.     The  metaphor  denotes  peerless  beauty.     Such 
compounds  with  ©otter  are  common.     Cf.  Schiller's,  ,,fo  prtidjt'ge  ©b't' 
terfefte,"  SKaria  ©tuart,  1120. 

865.  9ljflJ  £clantOtt'£,  a  bold  imitation  of  the  Greek  usage,  Ataf  6 
Tefafiuvog  =  Ajax  son  of  Telamon. 

866.  be3  SBaterldttbeS  £ci{J,  the  light  of  their  native  land,  i.e.  they 
did  not  live  to  return,  but  were  sent  down  to  the  gloom  of  Hades. 
The  phrase  is  usually  explained  as  an  imitation  of  the  Homeric  voarifiov 
fyftap  =  day  of  returning. 

869.   Hebed  ^CfJ.     According  to  English  usage  my  heart.     The 
phrase  is  a  literal  translation  of  the  common  Homeric  ty'iMv  rjrop  or 


881.  berucft,  ensnared,  is  a  term  borrowed  from  the  language  of 
fowlers,  and  has  here  its  original  sense  (cf.  894  ff.)  of  '  taken  with  a 
net.' 

887.  ttad)barK(f).  The  sense  is,  as  a  neighbor.  Cf.  the  prose 
reading,  bift  bit  Me  £od)ter  etneS  ©aftfreunbg  ober  9?ad)bar«  ? 

894.  etlt  .  .  .  ©etoebe,  an  intricate  and  artfully  entangled  web. 
The  description  especially  recalls  the  lines  assigned  by  Aeschylus  to 
Clytemnestra, 

I  cast  around  him  drag-net  as  for  fish 
With  not  one  outlet,  evil  wealth  of  robe. 

Agamemnon,  1353  ff. 

All  the  details,  however,  including  the  plea  of  revenge  as  an  excuse 
for  the  deed,  Euripides  also  gives  in  various  passages  of  his  Electra. 
and  he  especially  assigns  to  Aegisthus  a  share  in  the  deed,  which 
Aeschylus  does  not  do. 

899.  Ucrhiiflt.  Various  interpretations  are  offered.  Miss  Swan- 
wick's  rendering  and  thus  enveloped,  referring  to  the  device  by  which 
he  was  murdered  without  opportunity  of  self-defence,  is  fairly  satis- 
factory. Weber  takes  it  in  the  sense  of  tterhuUtertteife,  i.e.  secretly, 
without  the  renoun  of  a  hero's  death,  and  though  Homer  does  not 
mention  the  net,  the  following  Homeric  phrase,  ging  gll  ben  Sobtett, 
favors  such  an  epic  conception. 


119 


ACT  III. 


926.    gtattbe.     Cf.  801,  note. 

929.  2ebeits?bltrf.  The  thought  expressed  rests  probably  upon 
poetic  fiction  rather  than  pathological  fact,  but  cf.  Shakespeare's  "  a 
lightning  before  death."  Romeo,  5,  3,  90. 

932.  U)t  is  used  in  the  rest  of  this  speech,  as  in  802,  referring  to 
both  captives. 

942.  an  ...  ftreifte,  touched,  i.e.  in  any  manner  came  in  contact 
with  the  family.  About  the  household  hearth  all  the  events  of  domestic 
life  were  celebrated  with  religious  acts,  in  which  even  the  slaves  par- 
ticipated. 

948.  jpoffnuttg.  Diintzer  and  Strehlke  understand  simply  pleasure 
at  the  awakening  of  old  associations,  but  the  more  natural  interpretation 
seems  to  be  that  the  hope  of  return  is  at  once  suggested  by  the  presence 
of  the  two  strangers,  who  have  come,  at  the  command  of  Apollo,  from 
her  native  land. 

958.    ftltmm,  mutely,  agreeing  with  the  words  of  Py lades  in  873. 

961.  C(l)mp.  Olympus  in  Thessaly  was  the  fabled  abode  of  the 
gods  to  which  certain  illustrious  heroes  were  admitted.  As  its  summit 
rose  above  the  clouds,  it  was  believed  that  here  was  an  opening  into 
the  vault  of  heaven.  Cf.  the  beautiful  lines  of  Homer,  Od.  6 :  42  ff. 

966.  ^raitett.    Cf.  24,  note. 

968.  Xantdi$  Gnfel,  i.e.  Atreus  and  Thyestes.  As  Iphigenia  and 
Orestes  were  the  grandchildren  of  the  former,  the  tragic  irony  (cf.  534, 
note)  of  the  following  lines  is  apparent.  The  simile  was  originally 
between  the  curse  and  the  noxious  weed,  the  lines  reading,  fo  Ijaben 
XontalS  (Snfel  ben  fflnd),  gleicf)  einem  unt>ertUgbarn  Uufraiit  mtt 
toofler  §anb  gefaet,  imb  jebem  iljrer  Winter  tttieber  einen  SDiorber  jur 
eitrigen  2Beci)je(tt)iitI)  eqeugt. 

977-  feeftimmt.  In  prehistoric  Greece,  as  among  primitive  Aryan 
peoples  in  general,  custom  demanded  the  avenging  of  blood  by  the 
next  of  kin.  Homer  says,  "  For  a  scorn  this  is  even  for  the  ears  of 
men  unborn  to  hear,  if  we  avenge  not  ourselves  on  the  slayers  of  our 
sons  and  of  our  brethren."  Od.  24  :  432  ff.  The  same  ideas  also  pre- 
vailed among  the  Hebrews.  Cf.  Num.  35  :  19. 

980.    2(t>ernu§.     A  small  volcanic  lake  not  far  from  Naples.     Be- 


120  NOTES. 

cause  of  its  gloomy  surroundings  and  poisonous  vapors,  traduion  fixed 
upon  it  as  the  scene  of  the  descent  of  Odysseus  into  Hades,  and  the 
Roman  poets  regarded  it  as  the  entrance  into  the  lower  world. 

985.  gaftfmwbltd),  in  fealty.  The  word  seems  to  have  been  in- 
troduced by  Voss  as  a  translation  of  femof  (cf.  Od.  9:271),  but 
though  used  by  the  classic  writers  it  has  never  become  common.  See 
Grimm,  4,  I,  1476.  Buchheim  renders  it,  "  by  ties  of  hospitality." 

996.  ttJCber  .  .  .  ttJCber.  Poetic,  like  the  analogous  nor  .  .  .  nor. 
The  thought  of  the  line  is  more  clearly  expressed  in  the  earlier  versions, 
which  all  read,  5)te  fei  ben  ©ottent  itberfaffen.  §offnung  unb  gurd)t 
bilft  bem  Serbredjer  nid)t. 

1001.  fdjlfigt  .  .  .  SdjIWJtgcit,  i.e.  tortures  with  a  thousand  appre- 
hensions. Such  personification  of  an  abstract  idea  is  quite  in  the  Greek 
spirit,  and  was  suggested,  perhaps,  by  similar  personifications  in  the 
Theogony  of  Hesiod. 

1005.  ^Jtt'S  .  .  .  WCrbCVjjClt,  conceal  in  the  still  and  joyless  cavern 
realms  of  night,  i.e.  consign  to  oblivion.  The  exact  force  of  the  verb 
is  here  '  to  hide  by  putting  away ' ;  hence  the  ace.  after  the  preposition. 
Some  editions  have  the  reading  §ottenreid). 

1010.  (vllftru  rcttcitb.  Goethe  takes  this  fact  from  the  Electra 
of  Sophocles,  and  later,  in  describing  the  arrival  of  Orestes  and  Pylades 
at  Mycaene,  he  also  follows  the  plot  of  the  same  tragedy. 

ion.  3rf)U)iil)cr,  ordinarily  meaning  father-in-law,  for  @d)tt>ager, 
used  for  poetic  effect.  Anaxibia,  the  sister  of  Agamemnon,  was  the 
wife  of  Strophius. 

1027.  be§  ...  SBluteS.  Ordinarily  the  omission  of  the  def.  art. 
before  oft  geroafdjenen  23obett  would  indicate  that  the  preceding  geni- 
tive depended  upon  33obett,  and  Keck  so  construes  it,  making  it  "  the 
oft  washed  place  of.  .  .  blood."  The  uniform  reading,  however,  of  the 
earlier  versions,  roo  cine  olte  leidjte  ©put  Don  Slut  au«  benen  oft  ge= 
fdjeuerten  ©tetnen  nodj  fjerau8guleutf)ten  fdjien,  shows  that  the  poet 
thought  of  it  as  modifying  Spur,  and  it  seems  best  to  render  it  so  and 
to  assume  a  poetical  ellipsis  of  the  article. 

1029.  fclaffeit  atynbutigSttotten  ©treifcn.  This  detail  was  doubt- 
less suggested  by  the  allusion  that  Euripides  lets  Electra  make, 

Still  reeks  the  house 
With  black  corruption  of  my  father's  blood. 

Electra,  318. 


ACT   III.  121 

The  subsequent  reference  to  Electra's  wretched  life,  the  arrogance  of 
the  murderers  and  her  mother's  unnatural  conduct  may  well  have  been 
suggested  by  the  context  in  the  same  passage.  The  form  ab,nbung§= 
DoHcrt  is  based  upon  the  eighteenth-century  use  of  ahnbeit  in  the  sense 
of  abnen. 

*O35-  ftiefgeiDOrbenC,  say  alienated;  the  compound  is  Goethe's,  and 
Sanders  defines  it,  ,,burcf)  bie  jroette  (£be  entfrembet." 

1036.  jeiten  altett  Isold).  The  allusion  may  have  been  suggested 
by  the  mention  that  Euripides  makes  of  the  "  ancient  spear  of  Pelops  " 
(Iph.  Taur.  823),  as  one  of  the  tokens  by  which  Orestes  convinced 
Iphigenia  of  his  identity.  That  it  is  not  mentioned  in  the  earlier  ver- 
sions, marks  it  as  a  detail  by  which  the  poet  thought  of  connecting  this 
drama  with  the  proposed  sequel,  Iphigenia  at  Delphi  (cf.  3tdt.  SR.  19. 
Oft.  '86,  H.  24:  97),  in  which  Electra  was  to  recognize  Iphigenia 
when  on  the  point  of  using  against  her  the  fatal  weapon. 

1039-40.  The  earlier  versions  had  simply,  Unfterbli(f)e  auf  eureit 
retnen  SSotfen !  The  thought  agrees  with  that  of  the  common  Hom- 
eric phrase,  Qeol  fida  fwovref,  =  the  gods  that  live  at  ease.  The  tran- 
sitive use  of  leben  is  poetic. 

1052.  28ie  (jaljrcttb,  as  if  exhaling.  The  thought  is  of  a  phantom 
rising  from  the  reeking  blood;  the  horror  of  the  conception  is  well 
marked  by  the  following  incomplete  verse.  Though  by  no  means  an 
imitation,  the  poet  evidently  had  in  mind,  in  this  whole  speech,  the 
opening  lines  in  the  Eumenides  of  Aeschylus. 

1054.  bcr  9?od)t  uralteit  Xodjtertt,  imitating  the  Greek  usage  that 
avoided  naming  the  furies.  The  epithet  iiratten  applies  to  them  as 
belonging  to  that  oldest  race  of  the  gods  that  Zeus  dethroned. 

1055-56.  The  irregular  meter  of  these  two  verses  heightens  the 
effect.  The  first  consists  of  three  iambics  and  one  anapaest,  the  second 
of  one  iambic  and  three  anapaests.  The  final  anapaest  in  1060  also 
marks  the  agitation  of  the  speaker. 

1061.  3wetfcl .  .  .  Weue.    Cf.  1001,  note. 

1062.  2lrf)er0tt,  regarded  by  Homer  as  a  river  of  the  lower  world, 
cf.  Od.  10:  513,  and  by  later  writers  as   its  boundary,  across  which 
Charon  ferried  the  shades  (cf.  Aen.  6:  295),  is  here  used  as  by  Virgil, 
Aen.  7 :  312,  to  denote  the  lower  world  in  general. 

1067.  gottbcf  titeit,  i.e.  under  the  protection  and  blessing  of  the  gods. 
The  compound  is  formed  according  to  Greek  analogy. 


NOTES. 


1078.  eill  ^frentber.  Though  without  an  inkling  of  her  identity, 
Iphigenia's  sympathy  and  her  interest  in  the  fate  of  Agamemnon  and 
his  house  make  it  impossible  for  Orestes  to  consider  her  a  stranger. 

1089.  ftiirjje  .  .  .  HOItt  fttlS,  suggested  evidently  by  the  reference 
in  Euripides  to  "  a  gaping  chasm  in  the  rock  "  (Iph.  Taur.  626)  as 
the  tomb  awaiting  Orestes.  The  strong  declension  of  gel§  is  old  and 
unusual,  but  is  found  in  all  the  versions. 

1094.  (vrfiiUutig.  In  the  earlier  versions  this  apostrophy  was  ad- 
dressed to  Diana,  running,  S)einen  Slatb,  enjtg  ju  Derebren,  £orf)ter 
SatonenS  roar  mir  ein  ©efetj,  bir  mein  @ci)icffal  ganj  311  tiertrauen ; 
aber  folcfje  £>offnung  Ijatt'  id)  nidjt  ouf  bid),  nod)  auf  beinen  trjeit 
regternben  SSater.  @oH  ber  SWenfd)  bie  ©otter  roohl  bitten?  fein 
fiihnfter  S&unfd)  reid)t  ber  ©nabe  ber  fdjonften  2!od)ter  3obi§  ntd)t  an 
bie  $nie,  roann  fie  mit  @egen  bie  §anbe  gefiittt,  Don  ben  unfterblidjen 
fretroillig  b/erabfommt.  The  personification  in  the  final  version  seems 
to  be  Goethe's,  and  the  change,  read  between  the  lines,  may  perhaps 
voice  the  realization  of  his  own  long-cherished  hope  of  seeing  Italy. 
His  expression  may  have  been  influenced  by  the  words  that  Cotter 
puts  into  the  mouth  of  Electra  at  the  conclusion  of  the  recognition 
scene, 

(SrfilUt   fte^t  jeber  2^raum  toon  nun  an  toor  mir  ba, 

9JHr  rourbe  metjr  al§  je  ntein  fuljnfter  2Bunjd)  begetjrte. 

gleftra,  4  :  5. 

1107.    Stem*  ttnb  sJiebeH)iiUer  starry  veil  of  mist,  will  perhaps  best 
render  the  phrase.     The  prose  reading  was  jebeS  SlbenbS  gefttrnte  ^jiille. 
1108-11.  Cf.  Xaffo,  1074  ff., 

»33tete§  taffen  fte, 

SBenn  mir  flemaltjam  20og'  auf  SBoge  fe^n, 
SBte  lei(f)tc  2Be(Ien,  unbemerft  rjoruber 
SSor  t^ren  ftu&n  raujd)en,  Ijoren  nifti 
2)en  Sturm,  ber  un§  umfauf't  unb  ntebermirft, 
SBernefjmen  unjer  f^teljen  faum,  unb  (affen, 
SBie  rotr  befifjrQnften  armen  $tnbern  t^un, 
5Kit  ©eufsern  unb  (Secret  bte  Cuft  un§  fiitten." 

1123.  2Jitt  ntrf)tcn,  not  so.  The  form  is  a  contraction  of  the  sub- 
stantive use  of  ni(l)t  with  a  following  strengthening  negative,  mit 


ACT   III.  123 

ntrfjte  fll.  For  the  rendering  cf.  German  and  English  versions  of 
Luke  1 :  60. 

1125.  @d)leier.  Regarded  either  as  the  priestly  garb,  or  as  the 
symbol  of  innocence.  That  the  poet  thought  of  the  veil  of  Leucothea 
(Od.  5  :  333)  >  is  most  improbable. 

1129.  cfyritCll  .  .  .  ^it^cn  imitates  the  Greek  ^aA/coTrovf  (lit.  with 
feet  of  brass),  and  like  it  is  used  figuratively  for  untiring  feet.  Cf.  the 
phrase  of  Sophocles,  ^aA/coTrovf  'Eptvvc,  Elect.49i,  that  Prof.  Jebb  trans- 
lates "  the  Erinys  of  untiring  feet."  The  adjective  fred)  has  the  sense 
of  bold  or  perhaps  of  fierce. 

1143.    XobteJtftaffeS,  i.e.  Acheron,  cf.  1062,  note. 

1149.  @rinnt)Ctt.  Here,  as  in  1 169,  Iphigenia  seems  to  the  frenzied 
man  like  one  of  the  furies,  an  idea  suggested  perhaps  by  Euripides  in 
the  opening  scene  of  his  Orestes.  Cf.  the  lines, 

Hands  off,  thou  Fury  of  my  Furies  come 
To  grip  me  and  hurl  me  down  to  Tartarus. 

Orest.  264  ff. 

1153.  tterglttnmen  here,  as  in  the  earlier  versions,  used  reflexively. 
Grimm  cites  no  other  example.     Duntzer  gives  as  its  meaning  bergtim* 

menb  ftcf)  auSbrenncn. 

1154.  £oflenfd)toefel.    Cf.  629,  note. 

1162.  (forgone,  i.e.  Medusa,  whom  Perseus  slew  and  whose  head 
was  so  frightful  that  the  sight  of  it  turned  the  beholder  into  stone. 

1165.  @d)attCtt.  Cf.  Od.  ii  :  204  ff.,  where  Odysseus  sought  to 
embrace  the  spirit  of  his  mother,  that  three  times  flitted  from  his  hands 
like  a  shadow,  while  grief  waxed  ever  sharper  at  his  heart. 

1168.  (53  fltft.  The  sense  of  the  passage  seems  to  be  satisfied  best 
by  referring  e§  to  9Kutterbtute8,  as  the  only  word  that  Orestes  had 
comprehended. 

1176.  Sreilfa'S  23rautflctt>,  a  reference  to  the  plot  of  the  Medea 
of  Euripides,  in  which  Medea,  whom  Jason  had  discarded  for  Creusa, 
sends  the  latter  a  poisoned  robe  and  crown  by  which  she,  as  well  as 
Creon  her  father,  are  burned  to  death. 

1178.  tote  ^>erfule3.  The  mention  of  Creusa's  robe  suggests  the 
death  of  Hercules,  that  Sophocles  makes  the  theme  of  The  Maidens  of 
Trachis.  As  a  charm  to  regain  his  affections,  his  wife  Deianeira  inno- 


124  NOTES. 

cently  sent  him  a  robe  dipped  in  the  blood  of  the  Centaur  Nessus.  By 
it  he  was  poisoned,  and  in  his  agony  commanded  himself  to  be  carried 
to  Oeta  where  he  burned  himself  upon  a  funeral  pyre. 

1184.  cin  Utttb.  The  metaphor  expresses  the  alternation  of  uncer- 
tainty caused  by  Orestes'  conduct,  and  of  fraternal  affection  which  she 
instinctively  feels  for  him.  The  reading  of  the  preceding  lines  in  the 
second  prose  version  shows  that  this  is  the  thought :  Sbf  metne  3tt)eifef 

nnb  gieb  mir  eine  treue  gh'tcflidje  ©etmfjheit. 

1186-87.  C$  ret^t  .  .  .  Sruber.  A  motive  evidently  suggested  by 
Goiter,  who  makes  Electra  say  in  the  recognition  scene, 

2)ein  £erj  fltegt  meinent  311; 
1)etn  SMtrf  jeugt  roiber  bid)  —  2)u  btft  mein  '-Bruber,  bu! 

eieftra,  4 :  5. 

1188.  yt)fieu3.  Goethe  formed  the  genitive  from  the  Greek  Avaiof 
=  the  looser  or  deliverer  from  care,  an  epithet  of  Bacchus.  The  follow- 
ing line  refers  to  the  wild  frenzy  and  madness  of  the  Bacchantes  in  the 
dissolute  festival  of  the  god. 

1194.  Iccrcn  SBtnben,  cf.  1 1-14. 

1197.  bie  CttTge  DueBc,  i.e.  the  Castalian  spring,  rising  on  the 
slopes  of  Parnassus  near  the  Delphian  temple.  Its  waters  were  sacred 
and  all  wjio  visited  the  shrine  were  obliged  to  use  them  in  purifying 
themselves.  Roman  tradition  made  it  the  fountain  of  poetic  inspiration. 

1199.  tine,  than,  after  the  comparative  instead  of  dl3  is  irregular, 
due  probably  to  colloquial  usage,  though  occasionally  found  in  the 
classics.  Cf.  Grimm  sub  af8,  I  :  250. 

1209-11.  Keck  regards  these  lines  as  proof  that  Orestes  withdrew 
from  the  scene  during  Iphigenia's  apostrophy,  1094-1117,  and  sought 
out  his  friend.  The  supposition  is  more  natural  that  he  simply  turned 
away,  absorbed  in  his  own  gloomy  thoughts,  and  that  he  knew  wJiere 
Pylades  was  from  their  parting  at  the  end  of  the  first  scene  in  the 
preceding  act. 

1215-17.  D  ncljmt  .  .  .  modfC  is  addressed  in  prayer  to  the  gods, 
as  the  reading  of  the  first  metrical  version  shows :  — 

D  neljmt,  il)r  ©otter,  neljntt 

3)en  SSaljn  tfjm  toon  bent  ftarren  Slug! 

A  similar  omission  of  direct  invocation  occurs  in  1916-19. 


ACT    III.  125 

1240-42.  The  lines  were  evidently  suggested  by  the  scene  in  Euri- 
pides in  which  Orestes  tells  of  his  mother's  pathetic  appeal  for  mercy, 

She  shrieked*  with  hand  upstretched  to  reach  my  chin, 
"  My  son,  I  am  beseeching  thee  I  "     My  cheeks 
She  clutched  at  then,  and  so  upon  them  hung 
That  from  my  hand  the  weapon  swerved  and  fell. 

Elect.  1214  ff. 

1243.  ttitt  Ottf,  UltWiU'ger  (SJetft!  Goethe's  frenzy  scene  was 
greatly  influenced  by  Cotter's  Sleltra.  When  on  the  point  of  attack- 
ing her  brother,  in  her  frenzy  she  fancies  herself  in  Hades.  Cf.  the 
following  passage :  — 

gud)  ruf  icb  !  b5rt  aeneigt, 
Sbr  dumentben,  mid)  !    <Seib  mctne  ©Btter !  fteigt 
$>er  Madje  £6d)ter,  fteiflt  empor  an§  8id)t !  toerlaffet 
£>en  £artaru§  !    £ter  —  bier  if!  cuer  Sife  — man  baffet 
£ner  tobtfidjer,  al§  bort. —  %uf  greuetconer  33abn 
©eh',  eudj  jut  Sette,  2ob,  6ntfe^en  eucf)  tooran  ! 
3acft  eure  ®old)e  !  idjrainQt  bie  Qfacfeln,  bafj  bic  gfunfen 
SBett  iiber  SlrgoS  fprubn  !  — 

©eift  SlflamemnonS  !  @ei|i  DreftS  !  —  2Ba§  fiir  etn  Shimmer 
tlmbammert  mtef)  ?    Sie  ftnb'S  !    @ie  hbrten  mein  ©efdjrei !  — 

eieftra,  4:4. 

1247.  ihreit,  their,  §a^  unb  9tac^e  being  its  antecedent,  though  it 
is  sometimes  referred,  by  anticipation,  to  @d)tt>efter  in  the  following 
line.  The  prose  reading,  S3i«t)er  oergoffen  Wit  ba«  S3Utt  au«  §aJ3  unb 
9ta(f)e,  nun  tt)irb  bie  (grfjroeftertiebe  ju  biefer  Shat  gejwungen,  does 
not  support  such  an  exceptional  construction. 

1250.  An  earlier  scene  of  Cotter's  seems  to  have  recurred  to  the 
poet  here.  Electra,  having  resolved  to  attack  Orestes,  bids  her  sister 
a  frenzied  farewell :  — 

9lo(f)  feine  Scbroeftern  batten 
Sid)  fo  geliebt,  a(§  roir  —  (in  SBegetfierung)  3d)  fomm',  id)  fomm'  tbr 

Sdjatten*.  — 

©ie  rufen  —  l)6r|t  bu  nt*t?    g§  t(l  bcr  $arje  @d)(u6  — 
Sluttriefenb  —  furdjterlid),  fteta'  id)  jum  6rebu§  — 

(Sinft  in  bilfterer  Setdubunfl  an  ^P^ifenS  »ruft.) 


126 


1258.  fietlje'3  gfhttljCtt.  The  allusion  to  Lethe  and  to  the  peaceful 
shades  and  murmuring  voices  amid  the  branches  was  perhaps  sug- 
gested by  Virgil's  beautiful  lines :  — 

1  Interea  videt  Aeneas  in  valle  reducta 
Seclusum  nemus  et  virgulta  sonantia  silvis, 
Lethaeumque  domos  placidas  qui  praenatat  amnem. 
Hunc  circum  innunterae  gentes  populique  volabant ; 
Ac  velut  In  pratis  ube  apes  aestate  serena 
Floribus  insidunt  vartis,  et  Candida  circum 
Lilia  funduntur  ;  strepit  omnis  murmure  campus. 

Aen.  6 :  703  ff. 

Seuffert,  however,  connects  the  passage  with  Wieland's  lines  in  which 
Admet  soliloquizes  about  the  shade  of  Alceste, 

Ctebreid)  brduflen  ftrf) 
®ie  ©fatten  um  fte  b,er ;  jie  bicten  il>r 
«u§  CethenS  fjlut  gefulite  <Sd)aalen  an. 

*Icejfc,  4  : 2- 

1260.  ftrampf  denotes,  according  to  Sanders,  a  state  in  which  the 
mind  is  incapable  of  independent  volition.  Soon  life's  rage  is  purged 
away  will  best  render  the  force  of  the  passage. 

1262.  In  the  earlier  versions,  which  all  read,  roie  ill  bie  Olielle  beg 
2$ergeffen8  felbft  Derroanbelt,  the  thought  was  somewhat  differently  and 
more  clearly  stated. 

1264.  gefaftg.  The  first  reading  was,  SBiUfommen  ift  bie  $ub' 
bem  Umgetriebenen,  which  was  changed  in  the  second  prose  version 

1  Meantime  ./Eneas  in  the  vale 

A  sheltered  forest  sees, 
Deep  woodlands,  where  the  evening  gale 

Goes  whispering  through  the  trees, 
And  Lethe  river,  which  flows  by 

Those  dwellings  of  tranquility. 
Nations  and  tribes,  in  countless  ranks, 

Were  crowded  to  its  verdant  banks : 
As  bees  afield  in  summer  clear 

Beset  the  flowerets  far  and  near 
And  round  the  fair  white  lilies  pour  : 

The  deep  hum  sounds  the  champaign  o'er. 

Conington. 


ACT    HI.  127 

to,  3n  eitrer  ©titte  fabt  gefaflige  9tuhe  ben  Umgetriebenen  @ohn  bcr 
ber  (§rbe.  Both  readings  indicate  the  connection  in  the  poet's  mind 
between  geffiUig  and  9tul)e.  Translate,  tranquil  in  your  rest  let,  etc. 

1270.  fid)  frcttt.  The  vision  of  the  happy  and  peaceful  existence 
of  his  departed  ancestors  that  Goethe  makes  the  means  of  Orestes' 
restoration  is  not  classical.  Homer  not  only  represents  the  lower  world 
as  a  gloomy  and  mournful  abode,  but  the  phantoms  as  still  cherishing 
the  hostile  sentiments  that  animated  them  in  life.  Cf.  Od.  n,  and 
especially  541  ff.  Cf.  also  remarks  in  the  Introduction. 

1281-1309.  In  the  following  apostrophy,  overwrought  emotion  finds 
expression  in  the  irregular  metre.  Except  lines  1285  and  1298,  that 
are  in  the  regular  measure,  the  verse  may  be  described  as  iambic  tetra- 
meter, with  the  csesural  pause  after  the  second  foot,  before  which, 
and  at  the  end  of  the  line,  an  extra  unaccented  syllable  is  freely  ad- 
mitted. The  first  speech  in  the  following  scene  is  really  a  continuation 
of  the  apostrophy,  and  is  in  the  same  metre. 

1287-95.  See  Introduction,  and  contrast  these  lines  with  Cotter's 
in  which  Orestes,  believing  himself  in  Hades,  exclaims, 

ffiic?  Sleaiftf)!- 

SSerfolgft  bu  eroifl  mtdj  ?    2Bcr  fcfjmtcgt  fief)  an  if)tn  ?    3fjt 
$>a§  meinc  TOuttet  ?    %<f) !  mit  ttjm  audj  t)ter  tm  SBunbe  — 
5Blitft  fte  etjiirnt  auf  micf)  —  jeigt  mtr  bie  offene  SBunbe  — 

9lcf)  tjorc  meine  ©ttmme 

©eift  9lgamemnon§.    $omtn  !  entreip  midj  tfyrer  SButf)  — 
SSirg  micf)  an  betncr  SBruji 

((Sr  liegt  in  HSijlabeS  5ttrmen) 

2Sie  fanft  — rote  liebltcf)  rutjt 
@icf)'§  nicfjt  tm  ifiaterarm. 

1301 .  See  Introduction,  and  compare  Cotter's  lines  in  which  Orestes, 
in  frenzy  imagining  himself  in  Hades,  exclaims, 

giifirt,  uf)  flel)c, 
TOidj  f)in,  roo  SantaluS  rjerjcfjmac&tet — 

1313.  fnttftcn  ^SfetlCH,  evidently  an  imitation  of  the  Homeric 
dyavoZf  fateeoaiv,  with  gentle  shafts  (cf.  Od.  II :  173,  199).  Sudden 
death  was  believed  to  be  caused  by  the  arrows  of  Artemis. 


128  NOTES. 

1315.  foilim  .  .  .  mtt,  addressed  to  each  in  turn.  For  the  plural, 
addressed  to  one  of  the  captives  and  referring  to  both,  cf.  802,  note. 

1317-31.  The  poet  seems  to  have  had  in  mind  the  prayer  that 
Euripides  makes  Iphigenia  utter  when  the  attempt  to  escape  from 
Tauris  is  prevented  by  the  storm. 

Daughter  of  Leto  born, 

Help  me  thy  priestess,  from  this  wilderness 
Guide  me  to  Greece,  and  my  deceits  forgive ; 
Goddess  a  brother  knows  thy  sister-love 
Must  I  not  therefore  love  my  brethren  too  ? 

Iph.  Taur.  1398  ff. 

1327.  b(t  is  perhaps  best  taken  in  the  causal  sense,  since,  for  the 
uniform  reading  of  the  earlier  editions,  bflJ3  bu  fytet  mid)  bacgft,  admits 
of  that  explanation.  If  considered  as  a  temporal  particle,  its  use  with- 
out a  correlative  is  unusual. 

1340.  ^OfJC.     Goethe  follows  the  Homeric  idea  of  a  single  fate, 
not  fully  personified  but  intervening  in  human  affairs,  rather  than  the 
later  conception  of  three  goddesses  that  inexorably  determined  at  his 
birth  the  lot  of  every  man. 

1341.  sum  Srftenmal,  i.e.  felt  metnen  ^inberialjren,  which  was 
the  reading  in  the  earlier  versions. 

1344.  $I)r  is  the  personal  repeated  in  the  relative  clause,  as  the 
prose,  3f)r  ©otter,  bic  ihr  .  .  .  aufjehrt,  shows;  the  separation  from 
bie,  evidently  due  to  the  metre,  is  very  unusual. 

I353-  Sri3f  messenger  of  the  Olympian  gods  and  goddess  of  the 
rainbow,  who  restores  peace  in  nature. 

1359.  ©Umembett.  Cf.  the  Gr.  Efym'de?  =  the  Well-Wishers,  a 
name  given  to  the  propitiated  Erinnyes,  after  the  acquittal  of  Orestes. 
Cf.  Aeschylus,  Eumenides. 

1363.  nuf  it)ren  Jylfidjcn.  The  prose  reads,  label  mid)  ein  auf . . . 
JU  jagen,  showing  that  the  phrase  modifies  jagett.  The  position  of 
ein  is  unusual. 

ACT   IV. 

1369-81,  The  metre  in  lines  1-3,  also  7  and  10  of  this  passage  is 
dactylic-trochaic,  in  the  remaining  lines  anapestic,  but  in  5,  6  and  12 
with  an  unaccented  final  syllable.  This,  at  least,  seems  the  preferable 


ACT   IV.  129 

scansion,  but  by  putting  a  verse  accent  on  the  first  syllable  of  every 
line  the  whole  passage  can  be  analyzed  as  trochaic-dactylic.  The  ir- 
regular metre  expresses  the  agitated  mind  of  the  priestess. 

1377.  Stabt  is  used  as  Homer  does  TroAtf  =  city,  (cf.  Od.  15  :  264, 
and  often,)  to  denote  native  town,  and  with  ©eftabe  in  the  following 
line  gives  the  idea  of  '  near  by  or  remote.1 

1384.  bet  Strm.  The  prose  versions  expressed  the  comparison,  @r 
ijt  toie  ber  9lrm  be«  3iingling«  in  ber  @d)lad)t,  ttiie  be«  ©reijen 
leudfytenb  9htge  in  ber  33erfamtnlung  ;  the  poet  may  have  had  in  mind 
Achilles  and  Nestor. 

1403.  jtt  fyinterfyalten,  to  be  reserved.  Its  intransitive  use  is  un- 
usual. 

1410.  The  idea  of  an  arrow  averted  by  a  god  and  missing  its  aim  is 
Homeric,  (cf.  II.  4:  129,)  but  not  its  turning  back  upon  the  archer. 
Schiller  has  used  a  similar  expression  in  UJtarid  <2>tuatt,  1473  ff. 

1413.  ungenicitjtcit.     Cf.  728  and  1135. 

1422.   ttwrtct .  .  .  Ijarrt,  waits  .  .  .  stays.     Cf.  29,  note. 

1455.  In  the  earlier  versions  the  thought  was  more  clearly  stated: 
9?ocf)  urnr*  e«  3eit  ben  @tnn  ju  anbern.  The  word  @inn  (cf.  English 
mind}  Arkas  uses  in  the  sense  of  opinion,  while  Iphigenia  takes  it  in 
the  sense  of  disposition. 

1458.  in  unfrer  $)tart)tr  i.e.  of  us  mortals. 

1463.    ntettfdjlidj,  i.e.  by  human  means.     Cf.  the  lines, 

<SoH  er  ftrafen  ober  fdjonen 
SKufj  er  5Kenf(^en  menftfjUift  fe^en, 

Wk.  i  :  227, 

where,  as  Weber  remarks,  the  thought  is  that  Brahma  must  see  and 
associate  with  men  in  human  fashion. 

1477.  2J?ilbe.  Meekness,  in  the  biblical  sense  (cf.  Mat.  ii:  29), 
will  perhaps  best  rendei  the  idea.  Goethe  seems  to  have  in  mind  such 
an  instance  as  the  influence  exercised  by  the  early  missionaries  upon 
the  German  tribes. 

1505.  umgcwenbet  is  used  figuratively  to  denote  change  of  senti- 
ment.   Cf.  the  biblical  phrase,  "  Mine  heart  is  turned  within  me." 
Lam.  1 :  20. 

1506.  Jylutfy.   The  figure  is  of  the  flood  tide  rather  than  of  a  swollen 


1 30  NOTES. 

stream,  as  the  prose  reading,  Me  bereiufiromenbe  glut  baS  Ufer  ttmtfyer 
berft,  shows. 

1510.  ba#  UltminjHrf)C  Dtintzer  understands  as  Iphigenia's  own 
rescue,  while  Strehlke  and  others  consider  the  reference  to  her  brother. 
The  prose  seems  to  show  that  the  latter  is  intended,  though  rather  her 
joy  abstractly  considered  than  the  specific  idea  of  embracing  him  is 
meant.  The  reading  of  the  second  prose  version  was,  2Bie  bit  .  .  . 
glut .  . .  fam  bie  unenwartete  greube  intb  rafdjes  ©liicf  iiber  nud). 
SBolfen  umgaben  mid)  in  lebenbigem  £raume,  ba§  UnmogUd)e  biett 
id)  tnit  $ffnben  gefafjt. 

1517.  etnjtger,  overwhelming;  the  word  is  used  in  the  sense  of 
fibermadjtig.  Cf.  Grimm,  3:  357. 

1525.  3)0ppelt,  i.e.  not  only  in  itself,  but  as  involving  ingratitude, 
the  ideas  developed  respectively  in  each  of  the  two  preceding  scenes. 
The  latter  thought  is  more  clearly  expressed  in  the  prose  versions  i 
3eijt  bat  biejer  2Jtenn  meine  ©ebaufeu  auf  baS  35ergangene  geleitet  nub 
burd)  feine  ©egeumart  mid)  mieber  erinuert,  baft  id)  aud)  bier  3#eu» 
jdjen  toerlaffe  uitb  jeine  greunbfdjajt  mad)t  mtr  beu  33etnig  boppelt 
(jttiiefad)  in  second  prose)  tterbafct. 

1526-31.    The  figure  may  have  been  suggested  by  Wieland's  lines, 

3rotjrf)en  9lngft  unb  jmifc^en  £offen 
©c^roanft  mctn  8eben,  rate  im  iRa^en 
2)er  cmporten  fjtut  ein  Diadjen 
Snflftli^  3rati^en  ^lippen  tretbt. 


1530.  triib  unb  bang,  by  hendiadys  for  in  truber  Songigfeit.    Cf. 

81,  note.     Another  example  occurs  in  1553. 

1542.  lorftfl  denoting,  as  in  Homer  w/lof  =  curled,  great  manly 
beauty.  Cf.  Od.  6:231. 

1593-1601.  itbereUt  .  .  .  fd)0ff'  Itnd  Suft.  As  the  return  of  Arkas 
might  be  expected  at  any  moment,  it  must  be  awaited,  but  by  forcing 
him  to  go  back  again  to  the  king,  time  for  flight  would  be  gained. 

1609.  £$elfett°!$nfel.  The  description  applies  to  Delos,  an  island 
of  the  Cyclades,  which  was  the  birth-place  of  Apollo  and  sacred  to  his 
worship.  But  in  723  and  1928  Delphi  is  especially  mentioned  as  the 
place  whither  the  image  was  to  be  taken,  and  in  all  the  earlier  versions 


ACT    IV.  131 

this  passage  read,  el)'  tt)ir  Me  Sebingung  erfiillen,  bag  ttiir  bie  Sdjiuefiter. 
ihm  nad)  3)elpho«  bringen,  erfiiHt  ftcf)  baS  SSerfpredjen  fdjon.  In 
making  the  final  version  Goethe  must,  for  the  moment,  have  forgotten 
the  other  references  in  the  drama  to  Delphi,  and  thinking  especially  of 
the  shrine  of  Apollo,  have  used  language  that  applies  to  Delos.  He 
certainly  could  not  have  mistaken  Delphi  for  an  island,  nor  would  its 
isolated  location  warrant  the  figurative  use  of  3nfel. 

1622.  fid),  repetition  for  clearness  of  the  jtdj  in  1619.  For  a  simi- 
lar repetition  of  ttjenn  cf.  45,  note. 

1628.  CtttWirfcIte.  The  prose  had  the  present  tense.  The  preterit 
form  is  to  be  understood  as  subjunctive,  in  the  sense  of  ttmrbe  eitt» 

wirfetn. 

1638.  $iirrf)t.  The  prose  reading,  5ftur  in  ber  §urcf)t  ift  bie  ®efabr, 
states  the  idea  more  'clearly. 

1645.  i]Cl)CUt.  On  the  form  cf.  54,  note.  Another  example  of  its 
use  occurs  in  1685  in  conjunction  with  the  usual  form  in  1 68 1.  Metri- 
cal reasons  appear  to  have  dictated  the  use  of  the  archaic  inflection. 

1651.  This   line   is  variously  interpreted,  a    plausible    explanation 
being;   if  you  feel  fully  what  and  how  you  are  doing,  you  must  be  sat- 
isfied, for  you  are  saving  those  dear  to  you.     Evers  explains  it;    if  you 
esteem  yourself  properly,  i.e.  are  not  unselfish,  to  the  prejudice  of  your 
own  welfare  and  advantage,  you  must  value  your  own  worth  more  highly 
than  to  feel  it  injured  by  a  false  word.     This  seems  to  suit  the  context, 
and  though  the  line  occurs  only  in  the  final  version,  to  be  the  most 
logical  development  of  the  prose. 

1652.  nur  is  to  be  taken  with  gatt$  imbeffedt,  alone  quite  pure;  it 
logically  follows  that  tt»0l)l  in  the  following  line  is  restrictive  with  im 

Icmpel. 

1656.  bte£  ®efd)led)t,  i.e.  we;  the  use  is,  perhaps,  an  imitation  of 
the  Greek  off  avrip  =  this  man  (cf.  Sophocles,  Oed.  R.  534)  used  em- 
phatically by  "the  speaker  instead  of  the  first  person.  In  1695,  the 
demonstrative  conveys  the  idea  of  a  possessive,  my  race. 

1688.  1£ier  ...  ©iegel,  i.e.  the  image  of  Diana.  Apollo  has  already 
fulfilled  his  promise  (cf.  1605  ff.),  and  the  possession  of  the  statue  will 
seal  the  covenant. 

1691.  A  similar  expression  of  despair  is  found  in  Gotter,  who  makes 
Orestes  exclaim, 


132 


6ntflol)n  ift  mein  SBertrauen 

9luf  ©otter  —  bin  mein  SJtutl)  —  ©efrfjlerfjt  bei  SantaluS, 
Sdjroebt  aud)  auf  mir  ber  fjlut^  ben  bu  toerroiirlteft  ?    Wufj 
3<i)  biifjen,  otjne  Srfiulb  ?    $ann  idj  ifym  nid)t  entrinnen, 
5£>etn  ©c&tdfjat  metne§  Statnmi. 

eieltra,  4:5. 

1706.  i'rttcrtuclt,  i.e.  native-land,  a  compound  not  mentioned  by 
Grimm  and  cited  by  Sanders  only  with  this  example. 

1713.  ber  Sttanen.    Cf.  328,  note. 

1720.  grnilfcub,  shuddering.  The  Parcae,  as  members  of  the  same 
race,  naturally  sympathized  with  Tantalus. 

1725—66.  The  song  of  the  Parcae  describes  the  arbitrary  power  and 
caprice  of  the  gods,  their  injustice,  arrogant  malice  and  implacable 
cruelty,  and  a  final  division  pictures  the  despair  of  Tantalus  at  the 
fate  of  his  race.  Minor  describes  the  metre  as  "  free  rhythm,"  i.e. 
the  rhythm  of  the  verses  is  not  uniform,  and  they  are  grouped  not  in 
strophes,  but  according  to  sense.  The  variation  from  the  normal  form, 
w  /•  v  w  '  w  (which  may  be  described  as  amphibrachic)  ,  consists  in  the 
omission  of  the  final  unaccented  syllable  in  1727,  1731  and  1766.  Ac- 
cording to  the  sense  1744  might  perhaps  be  better  read  as  two  dactyls. 

I73^.  jjolbeitc  in  imitation  of  the  Homeric  use  of  ^ptxreof  =  golden, 
applied  especially  to  whatever  belonged  to  the  gods.  Cf.  II.  4  :  2  and 
3.  See  also  474,  note. 

1745.  5cl"tenf  i>e-  ^ftftdjfeifc"  ?  the  dat  P1-  of  &as  %*$i  not  of  bie 
gefie.  The  earlier  versions  all  read,  @ie  abet  laffeit  ft(f)'8  ettig  ttJohf 
fein  am  golbnen  Sifd). 

1752.  Srftitfter  TitnitClt.  Goethe  seems  to  have  had  in  mind  the 
story  of  Enceladus  whom  Zeus  buried  under  Aetna.  Cf.  Virgil,  Aen. 
3  :  578  ff.  The  story  of  Typhon  is  somewhat  similar. 

1762.  J)0rrf)t.  Its  use  with  the  ace.  as  well  as  that  of  bettft  is  poetic. 
Cf.  351,  note.  So  too  the  pi.  £ieber,  referring  to  the.  song  of  the 
Parcae  itself. 

ACT  V. 

1775.    Ijeirge  JSorronttb.     All  that  was  in  any  manner  thought  of 
as  connected  with  the  service  of  the  goddess  is  called  holy.     Cf.  1791, 
rimm,  holy  rage,  and  also  1821. 


ACT   V.  133 

1795-96.  These  verses  have  but  four  feet,  evidently  for  the  sake  of 
emphasis. 

1803.  Derjcif|rtc0  refers  to  possession  either  as  established  by  long 
custom,  or  as  made  worthless  by  age.  Sanders  takes  it  in  the  former 
sense,  prescriptive  ;  others  simply  as  worthless.  The  latter  seems  bet- 
ter suited  to  the  context  and  to  the  king's  angry  mood. 

1807.  Here,  as  in  181 1,  especial  emphasis  for  the  personal  pronouns 
is  given  by  the  verse  accent. 

1816—20.  The  metaphor  is  based  upon  the  Homeric  conception  of 
Zeus  to  whom  are  repeatedly  applied  the  epithets  vetyeTujyepera  = 
cloud-gatherer,  vipi/BpepSTrif  =  high-thundering  and  aaTeponi}rif  =  the 
lightener.  Diintzer  considers  the  allusion  implied  in  SJoten  biblical  ^ 
cf.  Ps.  104 :  4. 

1821.  In  the  earlier  versions  this  line  read,  SSte  tfl  bie  jcmfte  fjeltige 
§arfe  limgeftimmt.     ?ieb  was  perhaps  suggested  by  the  solemn,  almost 
oracular  utterance,  of  the  priestess,  or  Goethe  may  have  thought  of  the 
song  of  the  Parcae,  in  which  similar  thoughts  occur. 

1822.  ttur  $tgamemnon$  X0d)ter.     Strehlke  completes  the  thought, 
bin  id)  in  biefem  5lugenblicf.     As  a  princess  she  can  venture  to  oppose 
the  king's  command. 

1824.   rofd)  in  the  sense  of  heftig,  angrily.     Cf.  Grimm,  8:  128. 

1835.  The  incomplete  verse  emphasizes  the  idea.  Hospitality  was 
universally  recognized  in  the  prehistoric  age.  Cf.  especially  Od. 
I:  120,  14:  55  and  15:  68.  Zeus  was  often  called  Zedf  Seviof  = 
Zeus,  the  god  of  strangers.  For  the  feeling  of  later  times  see  Plato, 
Leg.  V,  729. 

1847.  The  prose  version  expressed  the  thought  more  clearly:  be8 
XobeS  geterUd)feit  wngab  bie  $nienbe. 

1861.  fyflt.  The  knowledge  that  Orestes  is  near  causes  Iphigenia 
to  state  the  conclusion  of  the  supposed  case  as  a  fact. 

1864.  ber  Jyrnucn.    Cf.  24,  note. 

1868.  and)  replaces  bod)  in  the  earlier  versions,  which  read,  2>od) 
ohne  §iilfe  gegen  euren  Xrofe  unb  £firte  hat  bie  9totur  un«  nid)t  ge- 
Taffen.  Its  force  seems  to  belong  to  ben  @d)tt>ad)en.  For  similar 
freedom  in  the  position  of  dlld)  cf.  Faust,  1001  and  2495. 

1877.  (gitt  $08  OJcfdjtlf,  in  the  earlier  versions  (gin  bo8  ®efd)tt)fir ; 
i.e.  the  pledge  to  deceive  the  king,  that  threatens  her  soul  like  an  evil 
destiny. 


134  NOTES. 

1880.  ben  (tntnutfy'gen  3tt)eig,  referring  to  the  branch  of  olive  or 
laurel,  wreathed  with  wool,  that  suppliants  were  accustomed  to  carry. 
Cf.  Sophocles,  Oed.  Rex,  3.  The  modern  use  of  a  flag  of  truce  is 
similar. 

1889.  The  irregular  metre  shows  Iphigenia's  hesitation.  Cf.  1944 
for  a  similar  example. 

1892.  unerljortett,  matchless  or,  as  Miss  Swanwick  renders  it,  noble. 
The  argument  in  this  speech  is  that  great  deeds  do  not  belong  to 
men  alone,  for  those  really  great  are  such  as  are  begun  without  ex- 
pectation of  success,  and  they  are  not  limited  to  deeds  of  prowess  in 
war  or  of  advantage  to  the  state,  but,  through  truth  and  magnanimous 
conduct,  are  equally  possible  for  a  woman. 

1895.  fdjuubernb,  thrilling.  The  reference  is  to  the  emotion  felt 
by  the  rhapsodist  as  he  recites  the  tale.  Cf.  685  ff. 

1898-1904.  The  passage  refers  to  the  episode,  told  in  the  tenth 
book  of  the  Iliad,  how  Odysseus  and  Diomedes  spied  on  the  Trojan 
camp  by  night,  and  took  away  the  horses  of  Rhesus,  the  Thracian 
king.  In  1900  untoerjeben  belongs  with  glamtne.  The  earlier  versions 
all  have  tme  eine  itnrjerjefyene  gtamme. 

1904-7.  The  reference  is  to  Theseus  who,  on  his  journey  from 
Peloponnesus  to  Athens,  rid  the  country  of  robbers,  and  afterward, 
among  other  adventures,  slew  the  Minotaur.  Cf.  600,  note. 

1912-13.    2htf  .  .  .  23tttft,  thrills  my  heart. 

1916-19.  Though  without  direct  invocation  (cf.  1215-17,  note), 
these  lines  are  addressed  in  prayer  to  the  gods.  The  phrase  eucf)  leg' 
itf)'«  ttltf  bte  $ltiee  !  is  an  imitation  of  the  Homeric  ravra  Oeuv  kv  yavvaai 
Kelrei  =  that  rests  with  (lit.  lies  on  the  knees  of)  the  gods.  Od. 
1 :  267. 

1917.  umfyrfyuft.  The  prose,  toetm  U)r  bie  ttmfirhaftigen  feib,  shows 
the  use  of  the  word  as  a  predicate  adjective. 

1940-42.  bent  .  .  .  flte^t,  i.e.  whose  natural  impulses  are  unper- 
verted.  The  prose  reading  was,  bent  ehl  ebleS  §erj  bon  ©ottern  ent» 
fprungen,  ben  23ujen  tuarmt. 

1957.  limnte.  In  the  first  prose  version  the  adverb  ttioljt  empha- 
sizes the  concessive  force  of  the  verb;  the  reading  was,  id)  lonnte  tt>ol)l 
betrogen  toerben. 

1984-85.    WttfrOtt3t  .  .  .  $rettbe.     Critics  are  divided  as  to  whether 


135 


the  clause  modifies  ©nabe,  which  is  then  regarded  as  a  goddess  per- 
sonified in  Thoas,  or  refers  to  Cpfetfldtttnte.  The  prose  reading,  £? 
lafj  bie  @nabe,  rote  tine  fdjone  ^lamme  be8  2lttar«  umfranjt  »on  £ob= 
gejang  Ullb  5)anf  imb  greube  lobecn,  favors  the  latter,  but  the  punctua- 
tion in  the  final  version,  (simply  the  comma  after  Opfftflantme,)  as 
well  as  the  fact  that  in  the  MS.  of  it  umfratt$t  was  at  first  omitted  and 
the  line  left  incomplete,  argues  that  the  former  idea  was  the  one  in 
Goethe's  mind.  Weber  and  Strehlke  support  this  interpretation. 

2002.  1)ie  ^riefterin,  bic  <Srf)tt>efter,  said  respectively  to  Thoas 
and  to  Orestes,  to  both  of  whom  the  preceding  lines  were  addressed. 

2034.  liefer,  referring  of  course  to  Iphigenia.  Cf.  the  use  of 
3ener  in  742. 

2041.  The  duel,  as  an  appeal  to  divine  judgment,  dates  from  pre- 
historic times.  Homer  describes  the  contest  between  Menelaus  and 
Alexandros,  II.  3,  and  between  Aias  and  Hector,  II.  7. 

2064.  9Kit  nidjten.    Cf.  1123,  note. 

2068.  ®r  fatte  flleidj,  i.e.  roemt  er  gleid)  fatte,  even  if  he  fall.  The 
prose  had  simply  unb  ber  9Zame  be8  ©efatteneu  roirb  aiid)  gefeiert. 

2072.  £ag=  unb  WadjtCU,  both  words  forming  one  idea,  the  inflec- 
tion of  the  first  is  omitted.     Blatz,  3d  ed.  I,  §  156,  3,  gives  numerous 
examples.     The  form  burdjgCIDCtnten  is  unusual;   the  prose  had  toon 
taufenb  burcfjroeinten  Xagen  unb  •Kachten.    Grimm  gives  both  forms, 
but  with  no  difference  in  meaning. 

2073.  cine  fttflC  <SeeIef  referring  perhaps  to  Laodamia,  but  more 
probably  without  specific  allusion.     On  the  use  of  @eele  in  this  con- 
nection, Vockeradt  remarks  on  the  poet's  fondness  for  the  word,  which 
occurs  twenty-six  times  in  the  drama. 

2079.  ftcij-fig  .  .  .  gefragt.  An  inconsistency  that  the  poet  failed 
to  notice,  but  taken  from  the  recognition  scene  in  Euripides,  in  which 
Iphigenia  questions  and  demands  proof  of  the  identity  of  Orestes. 

2082.  Will)  I.  This  was  Goethe's  own  invention,  though  the  idea 
may,  as  Schroer  remarks,  have  been  suggested  by  the  passage  in  Aris- 
totle's Poetics  (chap.  1  6)  on  the  signs  by  which  discovery  is  brought 
about,  in  which  natural  marks  "  like  the  stars  that  Carcinus  has  made 
use  of  in  his  Thyestes,"  and  then  chance  marks,  as  scars,  are  men- 
tioned. 

2087.    Sd)rumme.    This  was  adapted  from  Euripides.    Cf.  Elect.  573. 


136 


2104-  Referring  to  various  mythological  tales,  bcttt  fjoltmcn 
to  the  expedition  of  the  Argonauts;  ^fctbcn  to  the  horses  of  Rhesus 
(cf.  1898-1904,  note)  or  possibly  to  those  of  Laomedon  (II.  5  :  265); 
fdjonen  £ort)tertt  to  many  different  episodes,  as  those  of  Ariadne, 
Helen  or  Medea. 

2105.  fie,  pi.  referring  to  bet  ©riecfye,  regarded  as  a  collective  noun. 
Cf.  Luther's,  3«rael  bat  fid)  rjerfiinbiget  urtb  haben  metnen  SBunb  iiber= 
gangen.  Jos.  7:  n.  In  the  earlier  versions  Goethe  wrote,  3)ie  ©tie* 
d)en  Iiiftet'8  ofter«  nacf) . . . 

2119.  $)jt  ^eUtge.    Cf.  219,  note. 

2127.  SBUbe,  referring  to  the  legends  concerning  a  Palladium,  or 
sacred  image,  upon  which  the  welfare  and  safety  of  the  city  depended; 
most  famous  was  the  Trojan  Palladium,  stolen  by  Odysseus  and  Dio- 
medes,  in  order  that  the  Greeks  might  take  Troy.  Cf.  Vergil,  Aen. 
2 :  164  ff. 

2139.  ftroite.  The  poet  speaks  in  accordance  with  the  modern 
conception.  The  classical  emblem  of  sovereignty  was  the  scepter. 

2173.  Sebt  Wot)l.  The  brevity  of  the  king's  response  not  only 
accords  with  his  disposition,  but  is  suited  to  the  deep  emotion  of  the 
moment. 


BIBLIOGRAPHY. 


The  following  list  makes  no  pretense  of  being  a  complete  bibliography  of  the 
drama,  but  comprises  the  more  important  works  used  in  preparing  this  edition. 
Many  magazine  articles  have  not  been  mentioned,  nor  are  the  editions  and  transla- 
tions of  Greek  and  other  authors  cited  in  the  notes  included.  Histories  of  German 
literature  and  biographies  of  Goethe,  except  those  that  have  been  particularly  sug- 
gestive, have  also  been  omitted. 


Baechtold,  J.     ©oetbeS  Spfyigenie  auf  5£aurie,  in  »ierfad)er  ©eflalt. 

2.  Buff,    greiburg  i.  33.    1888. 
Biedermann,   G.  W.  von.     ©oetbe»gorfrf)ungen.    granlfurt  a.  3K. 

1879. 
Bittmann,  W.    (Sine  ©tubie  fiber  ®oetb.e§  Spbigente  oiif  £aurt8. 

Hamburg.    1888. 
Buchheim,  C.  A.    German  Classics  edited  with  English  notes.    Vol.  5. 

3phigenie  auf  £auri8.    Oxford. 
Carter,  F.     Spbigeme  ailf  £auri8.     With  an  Introduction  and  Notes. 

New  York.     1879. 
Denzel.    @oethe«    Spbigenie  auf  £auri«.    @d)ut=9lu8gabe  mit  9In= 

merfungen.    Sotta.    1872. 
Diintzer,  H.    ®oetb,e8    3pf)igenie    auf  Saurie  eridutcrt.    3.  Slufl. 

Jetpjig.    1878. 
2)ie  brei  alteften  iBearbeitungen  Don  OoetfjeS  3p^igenie.    (Stutt- 

gart unb  2;iibtngen.    1854. 
Eckermann,  J.  P.    ©efprad^e  mit  ©oetfje  in  ben  te^ten  Sa^ren  feineS 

?eben«.    6.  3tuf(.    ^)«g.  Don  3)un£er.    ?eipjig.    1885. 
Evers,  M.  ©oeth,e8  3phtgenie  auf  kauris,  erlautert  unb  gettjfirbtgt. 

?eipjig.    1888. 

Fischer,  K.     ®oeth,e=@d)rtften,  erfte  9ietbe.    ^eibefberg.    1890. 
Goedeke,  K.    ©runbri^  jur  ©efd^it^te  ber  beutf^en  25id^tung.    2.  gang 

neu  bearbettete  5lup.    ©reSben.    1884-95. 

137 


138  BIBLIOGRAPHY. 

Goethe,  J.  W.  von.    SBerfe,  naif)  ben  Borgiiglidjfien  Gueflen  retribtrte 

SluSgabe.    SBerlin  (£>empet).     1868-79. 
SBerfe.    £>erau«gegeben  im  Sluftrage  t>er  ©rofjberjogin  ©opbie  Don 

©acfjfen.    SBeimar.     1887-    . 

®oetl)e*3abrbucf).    £>8g.  turn  2.  ©eiger.    granffurt  a.  9K.   1880-    . 
Grimm,  H.    @oetb,e.    liBorlefungen,  gefyalten  it.  f.  ro.     2.  Slufl.    SBer- 

Itn.    1880. 

Grimm,  J.  and  W.    2)eutfcb,e«  SBorterbud).    Seipstg.    1854-    . 
Hagemann,  P.    @oetb,eS  3p^igenie  auf  SauriS.    ?etpjig.    1883. 
Heinemann,  K.     ©oetfye.     Seipjig.     1895. 
Hettner,  H.     @efd)icf)te  ber  beutfci)en  ?iterotiir  im  adjtjeljnten  3a^r. 

^unbert.    4.  toerbefferte  Sluft.    SBraunft^rtieig.     1893. 
Heyne,  M.     3>eutfdje«  SBorterbud^.    Jeipjig.    1890-95. 
Hlatschka,  R.    3Serfud)  etneS  fprocf)Hc^en  SommentarS  311  @oetb,e« 

3pl)tgenie  auf  b,iftorifcf)er  ©runbtage.    §aUe  a.  @.    1890. 

Huff,  L.  J.     Christian  Character  of  Iphigenie  auf  Tauris.     Andover 

Rev.  9:  134. 
Jahn,  0.     5lu«  ber  5Ittertb,um«tt)iffenf(^aft;  populate  luffaije.    93onn. 

1868.     (The  article,  Goethes  Iphigenie  auf  Tauris  und  die  antike 

Tragodie.) 

Keck,  K.  H.  ^Ia|ftfc^e  beutfdje  2)it^tungen  mit  furjen  @r!larungen 
it.  f.  w.  5.  Sit).  3pf)igenie  auf  2;auri«.  ©ottja.  1886. 

Klauke,  P.  (Srlauterungen  auSgetDa^Iter  SBerfe  ©oetbeS.  ®ritte8 
^>eft.  S3ertin.  1888. 

Minor,  J.    S)te  SBielanbjc^en   ©ingfpiele   unb    ©oetheS    3pb,igenie. 

(One  of  several  articles  under  the  title,  Quellenstudien  zur  Litera- 

turgeschichte  des  18.  Jahrhunderts?)     ^tf.  fur    beut.   ^pbUoIogie, 

19  :  232. 
Morsch,  H.     @oetb,e  unb  bie  griec^ifc^en  93iib,nenbidjter.     (Sefonberer 

Stbbrurf  au8  bem  Ofterprogramm  be8  tonigl.  9iealg^mnafmm«.) 

Cerlin.    1888. 
3tu«  ber  SBorgef(^i(f)te  Don   ©oefyee  3pbigenie.    3SiertcIjab,rf(^nft 

fiir  J?iteraturgefd)t^te,  4  :  80. 

Miiller,E.  2tnttfe  Stemini^enjen  in®oetb,e8  3pbigenie.  ^ittau.  1888. 
Reckling,  M.    ®oetbe«  3pb,igente   auf  £auri«  nad)  ben  toier  iiber= 

lieferten  ^affungen.    (Seilage  gum  S3it(^§tt)eiter  ®t)tnnaftalpro= 

gramm  fiir  1883-84.)    (Jolmar.    1884. 


BIBLIOGRAPHY.  139 

Riemet,  F.  W.     3JWtbei(ungen  iiber  ®oetbe.    SSertin.    1841. 
Sriefwecfiiet  jnnfcften  ©oethe  unb  Belter.    ^Berlin.    1833-34. 
Sanders,  D.    SBorterbiid)  ber  beutjdjen  ©pracfce.    Seipjig.    1861-65. 
Scherer,  W.    Stuff afce  iiber  ©oetbe.    ^Berlin.    1886. 
©efdndjte  ber  beiitfdjen  Siteratur.    Sertin.     1883. 
Schiller  und  Goethe.     $8rteftt)ed)fe(.    4. 9luf(.     Stuttgart.    1881. 
Schmidt,  E.    SbarafterifKfen.     Berlin.    1886.     (The  article,  Frau 

von  Stein.) 
Scholl,  A.    ®oetbe«  Sriefe  an  §rau  eon  @tein.    2.  DerDoUftanbigte 

Slufl.  bearbeitet  tton  SB.  gtetife.    granffurt  a.  Wi.    1883. 
Schreer,  K.  J.    @oetbe«  2Berfc.    hunter  ^beil.    3)ramen,  ttterter 

S3b.    (33b.    90  in  ^urfcf)ner«  ,,2)eutfd)e  9iationaU?iteratur.") 

SBerltn  unb  ©tuttgart.    1887. 
Schultz,  F.    S)ie  5Rad)bilbung  ber  Entile  in  ©oetbe«  3pbtgenie.    (An 

article  in  the  Preussische  Jahrbiicher  for  1 88 1.     S3b.  48  :  260.) 
Seuffert,  B.     3)er  junge  ®oethe  unb   SBtelanb.     (An  article  in  the 

Zeitschrift  fur  deuisches  Alterthum,  26  :  252.) 
Swanwick,  A.     Dramatic    Works  of    Goethe    translated.     London. 

1872. 
Taine,  H.     Essais    de    critique    et    d'histoire.     3  ed.     Paris.     1874. 

(The  essay,  Sainte-Odile  et  Iphigenie  en  Tauride.) 
Vockeradt,  H.    ®oetbe«  3pbigenie  auf  XauriS.    giir  bie  3»ecfe  ber 

©d)ule  erlautert  unb  metbobtjd)  bearbeitet.    ^Baberborn.    1880. 
Weber,  W.  E.    ©oetheS  3pbigenie  auf  £aurt«,  jum  @d)ul=  unb  ^ri» 

oatgebraud)  erlautert.    2. 2lu«g.    SBerlin.    1878. 
Wood,  H.     Goethe's  Elpenor.    (An  article  in  the  American  Journal  of 

Philology,  12:  458.) 
Zarncke,  F.    Uber  ben  fiinffiifjigen  3ambu6  u.  f.  w. 


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Riehl's  Das  Spielmannskind  ;  Der  stumme  Ratsherr.  Two  stories  with 
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Ebner-Eschenbach's  Die  Freiherren  von  Gemperlein.  Edited  by  Prof. 
Hohlfeld,  University  of  Wisconsin.  30  cts. 

Freytag's  Die  Journalisten.  With  notes  by  Professor  Toy  of  the  Uni- 
versity of  North  Carolina.  30  cts.  With  vocabulary,  40  cts. 

Wilbrandt's  Das  Urteil  des  Paris.  Notes  by  A.  G.  Wirt,  Denver  Uni- 
versity. 30  cts. 

Schiller's  Das  Lied  von  der  Glocke.  With  notes  and  vocabulary  by  Pro- 
fessor Chamberlin  of  Denison  University.  20  cts. 

Schiller's  Jungfrau  von  Orleans.  With  introduction  and  notes  by  Prof. 
B.  W.  \Vells.  Illustrated.  60  cts.  With  vocabulary,  75  cts. 

Schiller's  Maria  Stuart.  Introduction  and  notes  by  Prof.  Rhoades,  Uni- 
versity of  Illinois.  Illustrated.  60  cts.  With  vocabulary,  75  cts. 

Schiller's  Wilhelm  Tell.  With  introduction  and  notes  by  Prof.  Deering 
of  Western  Reserve  Univ.  Illus.  50  cts.  With  vocab.,  75  cts. 

Schiller's  Ballads.  With  introduction  and  notes  by  Professor  Johnson  of 
Bowdoin  College.  60  cts. 

Baumbach's  Der  Schwiegersohn.  With  notes  by  Dr.  Wilhelm  Bernhardt. 
30  cts.  With  vocabulary,  40  cts. 

Onkel  und  Nichte.     Story  by  Oscar  Faulhaber.     No  notes.    20  cts. 

Benedix's  Plautus  und  Terenz ;  Die  Sonntagsjager.  Comedies  edited 
by  Professor  B.  W.  Wells.  25  cts. 

Francois's  Phosphorus  Hollunder.  With  notes  by  Oscar  Faulhaber.   20  cts. 

Moser's  Kopnickerstrasse  120.  A  comedy  with  introduction  and  notes 
by  Professor  Wells.  30  cts. 

Moser's  Der  Bibliothekar.    Introduction  and  notes  by  Prof.  Wells.   30  cts. 

Drei  kleine  Lustspiele.  Gunstige  Vorzeichen,  Der  Prozess,  Einer  muss 
heiratcn.  Edited  with  notes  by  Prof.  B.  W.  Wells.  30  cts. 

Helbig's  Komodie  auf  der  Hochschule.  With  introduction  and  notes  by 
Prof.  B.  W,  Wells.  30  cts. 


Ibeatb's  dDofcern  2Lan0ua0e  Series* 

INTERMEDIATE  GERMAN  TEXTS.     (Partial  List.) 

Schiller's  Geschichte  des  dreissigjahrigen  Kriegs.      Book  III.      With 

notes  by  Professor  C.  W.  Prettyman,  Dickinson  College.     35  cts. 
Schiller's  Der  Geisterseher.     Part  I.     With  notes  and  vocabulary  by  Pro- 
fessor Joynes,  South  Carolina  College.     30  cts. 
Selections  for  Sight  Translation.     Fifty  fifteen-line  extracts  compiled  by 

Mme.  G.  F.  Mondan,  High  School,  Bridgeport,  Conn.     15  cts. 
Selections  for  Advanced  Sight  Translation.     Compiled  by  Rose  Chamber- 

lin,  Bryn  Mawr  College.     15  cts. 
Benedix's  Die  Hochzeitsreise.      With   notes   and  vocabulary  by  Natalie 

Schiefferdecker,  of  Abbott  Academy.     25  cts. 

Aus  Herz  und  Welt.    Two  stories,  with  notes  by  Dr.  Wm.  Bernhardt.    25  cts. 
Novelletten-Bibliothek.     Vol.  I.     Six  stories,  selected  and  edited  with 

notes  by  Dr.  Wilhelm   Bernhardt.     60  cts. 

Novelletten-Bibliothek.     Vol.  II.     Selected  and  edited  as  above.     60  cts. 
Unter  dem  Christbaum.     Five  Christmas  stories  by  Helene  Stokl,  with 

notes  by  Dr.  Wilhelm  Bernhardt.    60  cts. 
Hoffmann's  Historische  Erza'hlungen.     Four  important  periods  of  German 

history,  with  notes  by  Professor  Beresford-Webb.      25  cts. 
Wildenbruch's   Das   edle   Blut.     Edited   with   notes   and  vocabulary  by 

Professor   F.   G.  G.  Schmidt,  University  of   Oregon.       25  cts. 
Wildenbruch's  Der  Letzte.     With  notes  by  Professor  F.  G.  G.  Schmidt 

of  the  University  of  Oregon.     25  cts. 

Wildenbruch's  Harold.   With  introduction  and  notes  by  Prof.  Eggert.  35  cts. 
Stifter's    Das    Haidedorf.      A  little  prose  idyl,  with  notes  by  Professor 

Heller  of  Washington  University,  St.  Louis.    20  cts. 
Chamisso's   Peter  Schlemihl.     With  notes  by  Professor  Primer  of  the 

University  of  Texas.       25  cts. 

EichendorfP s  Aus  dem  Leben  eines  Taugenichts.     With  notes  by  Pro- 
fessor Osthaus  of  Indiana  University.     35  cts. 
Heine's    Die    Harzreise.       With   notes   by   Professor  Van   Daell  of    the 

Massachusetts  Institute  of  Technology.     25  cts. 
Jensen's   Die  braune   Erica.      With  notes  by  Professor  Joynes  of  South 

Carolina  College.     25  cts. 
Holberg's  Niels  Klim.      Selections  edited  by  E.  H.  Babbitt  of  Columbia 

College.     20  cts. 
Lyrics  and  Ballads.     Selected  and  edited  with  notes  by  Professor  Hatfield, 

Northwestern  University.     75  cts. 
Meyer's   Gustav  Adolfs  Page.      With  full  notes  by  Professor  Heller  of 

Washington   University.     25  cts.      ' 
Sudermann's    Johannes.        Introduction   and   notes  by   Prof.    F.   G.   G. 

Schmidt  of  the  University  of  Oregon.     35  cts. 

Sudermann's  Der  Katzensteg.  Abridged  and  edited  by  Prof.  Wells.  40  cts. 
Dahn's  Sigwalt  und  Sigridh.     With  notes  by  Professor  Schmidt  of  the 

University  of  Oregon.     25  cts. 
Keller's  Romeo  und  Julia  auf  dem  Dorfe.     With  introduction  and  notes 

by  Professor  W.  A.  Adams  of  Dartmouth  College.     30  cts. 
Hauff's    Lichtenstein.       Abridged.       With    notes    by    Professor    Vogel, 

Massachusetts  Institute  of  Technology.     75  cts. 


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